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A TREATISE

ON POETICAL CRITICISM.

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PREFACE.

( The translation of tlio Saliitya-darpana was commenced by
ttlie lato lamented Principal of the Benares College, Dr. Bal-
lantynfc, whose memory, bo it said in passing, will be ever
pherishod 'with gratitude and affection by his pupils as well as
the pundits of that institution. The performance of that emi-
nent scholar, however, extends little beyond a quarter, ending
with page 128 of Hits present publication. At the particular
instance and under the kind encouragement of his worthy suc-
cessor and my honoured tutor, Mr. It, T. II. (IrilHth, M. A., I
undertook to continue the work, which is now presented to the
•public in its completed form. The former portion lias been
Revised and edited, and no pains have been spared in the task,
Wherein I had to compare the original and the translation word
for word. I have, however, been particularly careful not to
make in the learned Doctor’s work any alterations not absolute-
ly required by the text, and such sentences and passages only
have been entirely re-written as misrepresented tlio original.
I think I have eometSnes been over-scrupulous in this direc-
tion, as, for instance, in adding only iu a foot noto what evi-
dently is the correct interpretation (see p. 78). As I am
personally responsible for tho alterations, I annex a list of
inferences to the principal ones, I could wish Dr. Ballantyuo
4«d used tho word ‘ taste’ or ‘ rolish’ to render such an impor-
tant term as rmt, denoting, as it does, the very essence of tho
■|jhssoutiai subject-matter of tlio work. But I was asked to
|cviso tho former portion when tho first two or three forms of
|ny work had already passod through tho press, so I could nut

Preface.

help retaining tho name 4 flavour/ which will perhaps grate
on the oars of hotter judges than myself as tasteless and gross.

I should think it is the most un poetical oxprossiou that oould
be uSed to denote tho soul of poetry.

Our author, I think, has furnished a very apt definition of
Poetry, viz., 4 A sentence the soul whereof is Relish/ Now
the question arises — What is it that constitutes relish itself 3
It is pleasure no doubt, hut not the sort of pluasuro whicll
is felt, for instance, from hearing such words as simply con-
vey a gratifying intelligence. It is a peculiar pleasure, it is
a passion or emotion, it is love, or sorrow, or nmtli, oi
wrath, or magnanimity, or terror, or wonder, or ev<*n disgusts
or it may bo fniro and passionless joy,* — not excited by i(
ordinary causes but delightfully suggested by a represents^
||cm of what are its causes, effects, and concomitant mental and]
iMily states in tho theatre of life. These, as exhibited iiJ
Bgfo are r spectively called Excitants (rib/ulra), Ensiiantl
Accessories {vi/ahhichan) ; and a combination

i, whether wholly expressed, or partially expressed tin'

led, developing the nine modes of sentiment; men

telg-abop, constitutes Poetry wliicli has thus a ninc-fok
i Mf - |s clear from tlie above elucidation that the Xn-
(ikn Critio®eld the right view, that an exhibition of human
or %otion alone is poetry. Where, it might at first bo
is file element of passion in the description of inanimato
j^nre, irrational creatures ? A lli/e reflection would show
; ,/wfet. ih <f<ler to be poetical, it must have tho colouring of emo-
it Must, to uso Indian phraseology, call forth one of the
'p^rtatmisnt sentiments by an exhibition of a part at least of tho
three-fold cause of its manifestation. Tims, tho Sublime ftm
the Beautiful in nature must como under ono or other of tl
Relishes enumorated.f First, the objects described may
contemplated with wonder as tho prevailing sentiment, and tlJ
Marvellous will be tho Relish of such poetry. ()• ... oudlj

* See Text 200, p. 109.

t I\ 111. Text 209.

Preface.

.lie poot may rise from the contemplation of Nature to Nature’s
G-od, reverence (blmva see text 245) being the prevailing
sentiment in such a case. Or, thirdly, tho scenes may bo de-
picted as heightening somo passion — love, for instance, or as
ministering to that pure and passionless joy which constitutes
the Relish of Holy Tranquillity (the Quietistio Flavour*). In
jtho first case tho objects form the Substantial Excitant, and in tho
jrcst the Enhancing Excitant of the Relish. f The lower animals,
Biowover, may form tho Excitants, Substantial or Enhancing, of
•almost all the varieties of Relish. J Shelley’s celebrated Hymn
||o a Skylark, for instance, is throughout coloured with wonder
||r admiration, tho other sentiments suggested by tho varied
nd exuberant imagery serving only to minister to that main
jassion. Wo will select two or three stanzas for illustration :

. #

Higher still ami higher

From the earth thou springest ;

Like u cloud of lire,

The. blue deep thou wingest;

And singing still dost soar, and soaring ever singest.

Test 238.
t Text 63.

+ Mill’s remarks on the subject arc so clear and impressive that I cannot help
noting them in exteuso : —

Descriptive poetry consists, no doubt, in description of things as they appear,
1 not us they are ; audit paints them notin their bare and natural lineaments,
1 but seen through the meftmm aud arrayed in the colours of the imagination
1 set in action by the feelings, if a poet describes a lion, he does not describe
‘ him as a naturalist would, nor even as a traveller would, who was intent upon
stating the truth, the whole truth, and nothing but the truth. He describes
him by imagery, that is, hv suggesting the most striking likenesses and con-
itrasts which might occur to a mind contemplating the lion, in the state of awe,
wonder, or terror, which the spectacle naturally excites, or is, on the occasion,
Bipposed to excite. Now this is describing the lion professedly, but the state
fjf excitement of the spectator really. The liou may he described falselv or
Ivith exaggeration, aud the poetry be all the better; but if tho human emotion
|>e not ''"ted with scrupulous truth, the poetry is bad poetry, i. c. t is not
§ me try a. , hut a failure.” Dissertation* and Discussions, Vol. I, p. 69.

Preface.

What, thou art wo know not :

What is most, like theo P
From rainbow clouds there flow not
Drops so bright to sec,

As from thy presence showers a rain of melody.

Like a high-born maiden *

In a palace tower,

Soothing her love-laden
Soul iu secret hour

With music sweet as love, which overilows her bower.

.It is remarkable that though wonder is evidently the leadin
sentiment of this short poem, the poet commits not even in 1
.Single instance the fault of bluntly naming it.* Tho Relish o
|ast stanza is ‘ love in separation,’ here manifested in a sub 1
e.te condition.f

be coincidence of this view of poetry and that of Job..

^Iill is so lemaikahle that I cannot resist tho tempta^
p quoting here tho words of that thinker which woul
ed servo to tlirq^soyie light on the third chapter of tli
|nt work, treating of the essentials of poetry. Let us fit-/
Inre our authors definition of poetry, which, by somewhat^
Tiing tho technical term rasa, may bo moro perspicuously
frod— ‘Words whoso essence is emotional delight aro
if with the two approved by Mill, viz., ‘ Poetry°is im-
|oned truth,’ ‘ (Poetry is) man’s tonights tinged by his,

s M# a ’ Th ° Eusuilnts («««Ww«); one of the three sots of
Potentials in the delineation of tho Permanent or Principa

§ aent (xthdyi-lhdqa), are very clearly recognised iu th.
iug remarks : —

iiut there is a radical distinction between the interest fellt
i 6101 ^^ 11 , and the interest excited by poetry • for file

■drived tan, Moot, the „tl, OT from uj refill J

one, the source of the emotion cxcilecl is the A

Text. 577.

t See Text 212 and ;

! 15.

Preface.

hihition of a state or states of hitman sensibility ; in the other,
of a sories of states of mere outward circumstancos.”* Dissert,
and Disc., Yol. I. p. 05.

Nor have the Permanent Sentiments (Text 200), themselve’s, of
Indian critics escaped the keen observation of the British
think^p and the nino principal feelings enumerated by the
latter, strikingly correspond to, and diiFer but little from, the
nino recognised by the former. He says :

# The italics arc ours. In spite of the distinction here drawn, it is impossible
to deny that incident is often inseparably connected with fueling and indispen-
sable to it^greatest manifestation as in the epos. Mill indeed seems in a manner
to admit this ^y saying * Many of the greatest poems are in the form of fictitious
narratives, and in almost all good serious fictions there is true poetry/ But \vc
should humbly think that the author ought to have more distinctly assorted
the indissoluble relation of the two elements in the highest development of poetry.
It is also to he observed Hast Hindu critics could not consent to the above re-
stricted application of the word poem which, in their opinion, is a generic name
equally applicable to a poetical fiction in prose. They were, however, quite sen-
sible of the distinction of incident aud feeling, along with the fact of their mutual
subserviency (see text, 31G). In his zeal for a distinction between a poem and a
novel, Mill indeed makes certain remarks not perhaps quite warranted by truth.
He soys — 1 lie (the 1 novelist.) has to describe ontwanfTfiitigs, not Ike inward man ;
actions and events, not feelings’ Perhaps the writer means to declare the
predominance of incident over feeling in a novel, otherwise a novel without a
sufficient depiction of passion would be hardly readable, and the fact of* almost
till good serious fictions’ containing ‘ true poetry* is admitted by himself. The
fact is that the terms * poem’ and * novel* are vaguely used in English, and though
the idea of a novel being written in verse is conceived by Mill, that of giving the
designation of * poem* to :N$vork in prose never perhaps occurred to him, the
Wtter being so entirely opposed to usage. The distinction between a poem and
a iuwl may be thus stated: A poem, (at least, one ol* the higher order) is a
work pi which the feeling is principal and the incident is subordinate, though
indispensable. A novel is its converse. Thus either of the elements is necessary
in either, though in different proportions. It must not be forgotten that,
though not h necessary element of poetry, metre, like music, assists considerably
in the excitement of emotion. "Where it is wanting, the defect has to he com-
pensated by au adequate addition of feeling. Of two poems, for instauce, equal
in other reaped^, t-lic poetry of the one which avails itself of the assistance
of metre will certainly be the more striking, for the feeling itself is heightened
by tho melody of th& versification. Strip the Paradise Lost of its metre and it
loses half its effect,

Prejctco.

viii

“ Every truth which a humati being can enunciate, every
thouglit, even every outward improssion, which can enter iuto
his consciousness, may become pootry when shown through
any* impassioned medium, when invested with the colouring of
joy, or grief, or pity, or affection, or admiration, or reverence,
or awe, or eveu hatred or terror : and unless so colouml, no-
thing, be it as interesting as it may, is poetry.” (p. 70T)

It will bo observed that joy, except under the comic senti-
ment, or mirth, is not recognised by Indian critics as ouo of
the leading emotions in pootry, but only as one of the concomi-
tant moods. The reason is obvious. Joy is eitlie. pure or
mingled with passion. Iu the former case it comes binder that
passionless and holy repose of the soul called Quietism (s'ama
Text 238) and is hence counted as one of its Accessories. In tho
latter, its subordination need not bo pointed out, Tho following
noble lines of Coleridge, for instance, depicting joy, in a pro-
minent manner, as forming the fountain of Creation’s lustre,
are a decided instanco of tho Quiotistic Relish :

0 pure of heart ! tliou need st not ask of me
Wlmt this strong music in the soul may be !

What and wherein it doth exist,

This light, this glory, this fair luminous mist.

This beautiful and beauty-making power.

Joy, virtuous Lady ! Joy that ne’er was given
Save to the pure, and in their pure.^mur,

Life and life’s ellluenee, cloud at once and shower,

Joy, Lady, is the spirit and the power
AVhich wedding Nature to us gives in dower,

A new Earth and new Heaven,

Undreamt of by the sensual and the proud—

Joy is tho sweet voice, Joy the luminous cloud :

Wo in ourselves rejoice !

And thence Hows all that charms our ear or sight
All melodies the echoes of that voice,

All colours a suffusion from that light.

Preface.

What is this Joy which glows in such a brilliant imagery?
The poet himself tells us that it is the joy * that never was given
save to the pure and in their purest hour,’ ‘ undreamt of by the
sensual and the proud.’ It has no admixture of earthly pas-
sion, though it may be associated with holy love — lovo that
takes the name of universal benevolence (wr^ir), another
concomitant of the Quietistic Relish. The abovo verses sound
indeed as if they were a long-continued echo to the sublime
strain of the Upanishad which exclaims —

% siTOTrf ^t*r% «r t

( Taittsriyopanishad , p. 100 , Bib. hid.)

(Who iiideed, would inhale, who exhale, if this ether were
not Joy !)

Joy bore, is the Deity himself, the Essential Excitant of the
Relish.

The threo essential merits ( guna ) of poetry, according to the
later school of Rhetoric to which our critic belongs, are Sweet-
ness, Energy and Perspicuity. To guard against misconcep-
tion, it is to bo mentioned that Dr. Ballantyne had inappropri-
ately rendered the term guna into * style’ by which name he
refers to the subject of the eighth chapter, in his Advertisement.
The proper equivalent of stylo is nti, the subject of the ninth
chapter.

It is with no ordinary pleasure that I have now obtained
the long looked for opportunity of expressing publicly my gra-
titude to Mr. R. T. II. Griffith, M. A., who (not to mention my
great obligations as a pupil) has kindly revised, in MS. or
proof, a great portion of my work. Er om that distinguish-
ed scholar’s paper on Indian Figures of Speech appended to his
Specimens of Old Indian Poetry, I have borrowed some of the
renderings of names in the tenth chapter. Deeply too do I
feel myself indebted to the accomplished Professor A. E.

* Sankaracharya construes as i n the locative case, but we

should prefer the nominative, as the natural and more forcible interpretation.

Preface.

Gough, B. A., for the kiud help he has lent me, in my weak
health, in the translation of the concluding portion of the
Beventh' and of the eighth and ninth chapters. My hearty
acknowledgements are also due to the distinguished antiquarian
and scholar, Babu Rajendralal Mitra, who has not only all
along evinoed a true interest in the work, but has actually
urged me on to its completion.

PD. M.

List of references to the principal alterations made in Dr, Ballan-
tyne’s portion of the work.

Page.

Line.

Page.

Line.

Page.

Line.

16-18

25-26

28—29

7-8

28—29

5-6

20-22

2—13

1 95

8-12

30-31

34—35

2—5

28-31

13-14

100

2—3

13—15

102

36—38

11-12

103

106

2—3

17-20

106

24—26

111

32-33

9 "

111

17-19

17—18

116

23-24

120

11-12

12-14

123

12-18

22-24

123

17-20

30-32

24-25

CONTENTS.

Chapter I?— 1 The Declaration of theNature of Poetry,...
Chapter II.— The Declaration of the Nature of a Sentence,
Chapter III.— The Declaration of Flavour, Incomplete

Flavour, &c., •••••

Chapter IV. The Declaration of the Divisions ofPoetry,

Chapter V. The Establishment of the Function of Sug-

gestion,

Chapter VI.— The Declaration of ‘Poetry Visible’ and

« Poetry Audible,’

Chapter VII.— The Declaration of Blemishos,

Chapter VIII.— The Declaration of Merits,

Chapter IX.— The Discrimination of Styles,

Chapter X— The Declaration of Ornaments

Page

1—13

13—38

39—137

137—162

162—173

173—270

270—317

318—327

328—332

333—444

ADVERTISEMENT.

Som% account of tlio work here offered to his notice may be
not unacceptable to the reader.

Among the Sanskrit texts printed at Calcutta under the
authority of the (General Committee of Public Instruction, there
are two works the titles of which are given in English as fol-
lows : —

“ Kdvya PrahWa ; a treatise on Poetry and Rhetoric by
Mammata Acharya. (182!))."

“ Sdhitya Lhivpum ; a treatise on Rhetorical Composition by

Vls'WANATIIA IVAVllUJA. (1828)."

The Kdvya I’rnh'ts'a — the “Illustration of Poetry,” — con-
sists of a number of metrical rules ( hirilui ) interspersed with
comments and illustrative examples. The rules are founded
on the Aphorisms of Vamana, who owed his knowledge of the
subject to the divine sage Bharata. The Sdhjjyn Darpam—
the “ Mirror of Composition’’— also has memorial verses as its
text; and the rules are frequently illustrated by the same
examples as those employed in the earlier work. Both works
are held in high esteem ; hut that of Vis'wana'tiia— the more
recent and the more copious of the two— is generally admitted
as the standard of taste among Ihc learned Hindus.

Of the etymology of the term Sdhitya two explanations are
offered. According to the one, it is derived from liita 1 benefit’
and saha ‘ with,’ because a knowledge of it is beneficial in all
departments of literature. The other, with less appearance of

reason, explains it as denoting the sum total of the various
sections of which the system itself is made up. .

The term Rhetoric, as employed to denote the subject of a
treatise of this description, is liable — according to our view of
the division and denomination of the sciences — to an objection
the converse of that to which we hold the term Logic liable,
when employed to denote the all-embracing sphere of the
Nyiiya philosophy. Tn the Sdhitya we have but a part and the
least important part of wlm-t, according to Aristotle,* belongs
to Rhetoric. In order to attain its specific end of convincing
or persuading — between which we agree with Mr. fyuart in
thinking that there is more of a distinction than afliffereneef
— Rhetoric? does not hesitate to avail itself of the graces of
language which gratify the taste; but in the Sdhitya, “ taste"
(rasa) is all in all. The difference between the political history
of India and that of Greece or Rome so obviously suggests
the reason why eloquence, in the two eases, proposed to itself
ends thus different, that it would be idle to dp more than allude
to it in passing.

The Sdhitya Dafparn is divided into ten sections — of
lengths varying from eight or nine pages to eighty or ninety.
The first section declares the nature of poetry. The second
treats of the various powers of a word. The third treats of
taste. The fourth treats of the divisions of poetry. The fifth
discusses mon^fully one of the powers of a word adverted to
in section second. The sixth takes particular cognizance of
the division of poetry into ‘ that which is to be seen/ and ‘ that

* The; main consideration being that of Arguments — ra S’ &\Aa irpuadriKai — “ but
the rest mere; out-work.” TtheL Ji. I. c, 1.

t “That common situation in iifo, Vidro mcHora proboque, ddcrioro, sequor,
proves indeed that there aro degrees of conviction which yield to persuasion, as
there are; other degrees which no persuasion can subdue : yet perhaps we shall
hereafter bo able; to show that such junctures do but exhibit one set of motives
outweighing another, and that the application of the term persuasion to the one
set, and of conviction to the other, is in many cases arbitrary, rather than dic-
tated by a correspondent difference in the things/’ Sematxhgy—p, 175.

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’which is to be heard/ The seventh treats of blemishes. The
eighth treats of style. The ninth treats of the varieties of
composition resulting from the blending of styles, and the
predominance of one or other of them. The tenth and last
treats of embellishment. To the subject of this tenth section
the Kuvalaydnanda of Apyayya i> i kktitta, with which the stu-
dent usually commences, confines itself.

According to established custom the & Ythitya Day pan a
opens with an invocation. The author then proceeds to
say that as his work is ancillary to poetry, its fruits can he
no othei^ than those which poetry bestows. These are de-
clared to consist in the attainment of the four great objects
of human desire — viz. Merit, Wealth, Knjnyment, and Salva-
tion — which, “by means of poetry alone, can be obtained
pleasantly even by persons of slender capacity.” Salvation,

it is to be remembered, or liberation from the liability to
being born again, is tire reward held out to its followers by
each of the various systems of Hindu doctrine. Kvcn the
Grammarians claim for their own art ( — more than was
claimed for the kindred (Jraininaryo of the Dark Ages — ) the
power of leading the soul to bliss ;* and it is scarcely to be
wondered at that the poets should contend that I lie goal might
be gained, as surely as by any of the more rugged routes, and
much more pleasantly, by the “primrose path 1 ’ of Poesy.
Poetry is to conduce J:o this by setting before its votary such
examples for imitation ar> that of Kama * and for avoidance as
that of Havana, and so training him up to virtue. After
showing, how all the four groat. objects sought after by the wise
have been at various times obtained through conversancy with
poetry, our author gravely disposes of the objection that the
possession of the Vedas renders the study of poetry with such

* According to the Grammarians - l< A single word, ported ly understood, and
properly employed, is, alike in heaven and on earth, the Kdniaiihnh * 1 — Hie marvel-
lous cow from which you may “ milk out whatever you desire 1 ’ --including, of
course, final emancipation, if yon wish it.

views superfluous, by asking, where is the wisdom of seeking to
remove by means of bitter drugs an ailment that can be cured
with sugar-candy ?

Having established the importance of Poetry, he proceeds to
determine what it is that poetry consists in ; and this he de-
cides is * Flavour’ (rasa).* Between this and the Vedantic con- ,
ception of the Deity, he does his best (in his third section) to
make out a parallel, which the reader will be the more likely
to understand, if lie have some previous acquaintance with
Vedantic speculations.

It is worth noticing that the notion of reckoning metre.
amc ig the circumstances that constitute poetry ft not even
hinted at by our critic. The fact that the learned of India are
accustomed to put into verse almost all their driest treatises —
on law, physic, divinity, &c. — affords a ready enough explana-
tion why the accident of metre should not be mistaken by them
for the essence of poetry. Their test of poetry, (under which
title, as we shall see, they reckon “ poetry in prose ” — gadya
Mvya), coincides pretty closely with that specified by Whately
as the test of “ good poetry,” when he says (Rhet. p. 344,)
— “ The true test is easily applied : that which to competent
judges affords the appropriate pleasure of Poetry, is good poetry,
whether it answer any other purpose or not : that which does
not afford this pleasure, however instructive it may be, is not
good Poetry , though it may l>e a valuable work.” The Arch-
bishop goes on to say,** Notwithstanding all that has been ad-
vanced by some French crifcs, to prove that a work, not in
metre, may be a Poem, (which doctrine was partly derived,
from a misinterpretation of a passage in Aristotle’s Poetics,)
universal opinion has always given a contrary decision.
Any composition in verse, (and none that is not,) is always
called, whether good or bad, a Poem, by all who havejio
favourite hypothesis to maintain.” The pandits furnish ap-
parently an exception to the universality of this dictum, for .if

# Vdkyam rasdtmakang ltdvyam—Bee p. 10.

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Vll

you wish to astonish a pandit, you have only to ask him grave-
ly whether, for example, that terse metrical composition, the
Nyaya compendium entitled the Bhdshd-parichchheda is a poem.
If, in holding it to be as far removed as anything well can be
from poetry, he goes on a “ favourite hypothesis,” it is because
the notion of an opposite hypothesis probably never occurred
to him.

In the 2d chapter (on the various powers of a word) the
explanation of some of the terms is rather curious. “ Let that
‘ Indication’ (says the author) be ‘ Snpcrimponcnt’ which makes
one think of the identity with something else of an object not
8ioallowea\( by that with which it is identified, but expr -.sed
along with it). That 1 Indication’ is held to be ‘ Introsuscep-
tive’ which makes one think of the identity with something
else of an object swallowed — not expressed but recognised
as it were within that with which it is identified.” For ex-
ample — “ The horse — the white — gallops here “ the horse”
and “ the white” mean just one and the same thing, and both
terms are exhibited ; but the same sense would be equally
well understood (by a jockey, for example, to whom the
horse was notoriously “ the white”- — or “ the dun” — or “ the
chesnut” — ) if the sentence were briefly “ The white gal-
lops.” Here the “ white” has swallowed the “ horse,” and
the case is one of “ Indication inclusive introsusceptive founded
on Notoriety'’ (rudhdotqHiddna-lakshaiid sddhyavasdnd.) This
classification of phraseology may serve to illustrate a passage
in the “ Poetics” of Aristotle, wliflfc Mr. Theodore Buckley (pf
Christ Church) concurs with Dr. Ritter in condemning as
spurious. The passage occurs in the 21st chapter, where, in
speaking of metaphors, Aristotle, as rendered by Mr. Buckley,
says “ And sometimes the proper term is added *to the relative
terms." We incline to regard the calumniated passage as
genuine. Let us see. Aristotle goes on to remark “ I say, for
instance, a cup has a similar relation to Bacchus that a shield
has to Miffs. Hence, a shield may be called the cup of Mars,

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viii

and a cup the shield of Bacchus/' Now, it seems to us that if
the following proportion — viz.

Cup : Bacchu9 : : shield : Mars

wei'e not present to the mind of the hearer, then (to use Mr.
Buckleys words — on a kindred passage in the 11th chapter 3d
Book of the Rhetoric — ) “ with a view to guard the metaphor
from any incidental harshness or obscurity," the proper term
may be advantageously added — making what our author calls
a case of the “ Superimponent” (sdropd.) Thus, had Aristotle
followed up his remark by a special example, we should have
read, “ The cup — the shield of Bacchus” — “ The shield — the
cup of Mars." According to the Hindu phraseology, when we
omit the proper term and say, “ The cup of Mars," then, (through
Indication Introsusceptive) the cup has swallowed the shield —
which latter, nevertheless, is discerned within the other by the
eye of the the intelligent.

From the chapters of the Sdhitya Darpana which treat of
Dramatic Poetry, many interesting extracts have been given by
Professor H. H. Wilson in the Introduction to his “ Select
Specimens of the Theatre of the Hindus.”

J. R. B.

Benares College , 5th January , 1851.

TIIE MIRROR OE COMPOSITION.

♦

SALUTATION TO GANES'A!

Chaste It I . — The Declaration of the Nature of Poetry.

At the beginning of his book, desiring the unobstructed completion
of what he wishes to begin, he i. e., the author — commenting on his
own metrical treatise — makes his address to the Goddess of Speech,
because in the province of Eloquence it is she who is the constituted
authority.

Text.

Invocation. 1.— May that Goddess of Language, whose radiance

is fair as the autumnal moon, having removed the overspreading dark-
ness, render all things clear in my mind !

COMMENTAEY.

a. As this book is ancillary to Poetry, by the fruits of Poetry only
can it be fruitful therefore ho states what are the fruits of Poetry

Text.

2. — Sin^e the attainment of the fruits consisting of

clnrcd S I!y iinpll the class of four i. c., the four great objects of human
cation. desire — viz,, Merit , Wealth , Enjoyment, and Libera-

tion — is pleasantly possible even in the ease of those ot slender
capacity, by means of Poetry only, therefore its nature shall be
now set forth.

COMMENTAEY.

a. The allegation in the text is borne out by facts— for it is
notorious that the fruits of the “ class of four” have been attained by
means of the counsels, as to doing and forbearing to do respectively
wliat ought to be done and what ought not to be done, deduced from
ji

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Poetry — to the effect that “ one ought to do as Kama and the like,
not as Kavnna and the like.” And it has been said — “ Addiction to
good Poetry produces sagacity in regard to Merit, Wealth, Enjoyment,
and Liberation, and it produces also fame and favour.” Further —
to explain these assertions severally — the attainment of Merit through
Poetry may take place, for instance by means of the laudation of the
lotus-feet of the divine Narayana. That this is the case is notorious,
from such statements of the Vedas as this one, viz. ; — “ A single word,
properly employed, and perfectly understood, is, in heaven and on earth,
the Kdmadhuk — the cow from which you may 1 milk out whatever you
desire .* ” And as for the attainment of • Wealth — that this may
take place by means of Poetry is established by the evidence of the
senses, for we see men make money by it : — and the Attainment of
Enjoyment is possible just by means of Wealth. And finally — by
means of Poetry the attainment of Liberation may take place by
not aiming at or having no desire of the fruits — at best but transitory
— of Merit arising from it i. e., arising from Poetry, as above explained
— or Liberation may be attained through the possession of conversaney
with statements conducive to Liberation — such as arc to be met with
in sacred poems like the Bhayavad Gita.

The praise of k And justly may this pursuit be commended
Poetry. above others, for, from the Scriptures and the Insti-

tutes of Science, by reason of their insipidity or dryness, the attain-
ment of the “ class of four” (§. 2.) takes place painfully, even in the
case of men of ripe understanding ; whilst, from nothing hut Poetry,

by reason of its producing a fund of the highest delight, does the attain-
ment take place pleasantly, even in the case $f the very tender-minded.

An objection c * “ — somB one ma tf ^ ere °hjcct — since

answered. there arc the Scriptures and the Institutes of Science,

why should men of mature minds take any pains about poems?” — this
too is not proper to he said in the way of objection— for, truly , when
a disease, curable by bitter drugs, happens to be curable by candied
sugar, — in the case of wliat man, having that disease, would the
employment of candied sugar not be most proper ?

d . Further— the excellence of Poetry is declared also in the d'gneya
Pur dm — thus — “ In this world to attain to be a man is hard, and
there very hard to attain is knowledge ; to attain to be a poet there is

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• 3

hard, and very hard to attain there is poetic power.” And again —
“ Poetry is the instrument in the attainment of the 1 class of three*
— viz., Merit, Wealth, and Enjoyment , — see §. 2.” And in the Vishnu
Ear Ana it is declared — “ And the utterances of Poetry, one and all,
and all songs, — these are portions of Vishnu, the great-souled, who
wears a form composed of sound.”

e. By the word “ therefore” in the text— see §. 2 — is meant “ for
that reason” — and by the word “ its” — “ of Poetry.” The nature
thereof — or what it is that Poetry consists of — is to be set forth : —
and by this i. e., by the statement , in the text , that the nature of
Poetry is about to be set forth , has the subject of the treatise — viz. ,
Poetry — by implication, and hence all the more ingeniously pro-
pounded.

Tlio definition f In regard, then, to the question — “of what — *
of Poetry in the . Jf . . . .

Kavya IVakas'a leaving everything else apart — does Poetry consist?” —

objected to. a cer tain person viz., the author of the KAvya Pra-
te as' a — says — “ This — i. e., Poetry — consists of words and meanings
faultless, with Excellence or Beauty ( — see Chapter 8 tit) — even thoufjh
sometimes undecorated.” This requires some consideration — as thus : — *
if that only which is faultless be held poetry, then look at the following
speech of Havana , in Bhavabhuti s drama of the Vira-charitra . —

“ For this indeed is an utter contempt of me that there are foes of
mine at all , and amongst these this anchoret too ! He, too, even hero
in my own island of Ceylon , slaughters the demon -race ! Ila! Doth
Havana live ? Fie, fie, my son , — thou conqueror of India! what avail
is there from Kumbhakarna awakened untimeously from his six
months' slumber — gigantic ally though he be — or what from these mg
own score of brawny arms that tn vain swelled with the pride of
carrying off the spoils of the poor villages of Heaven?” —

First objection V faultlessness, I say , were essential to Poetry,
to tho definition, then the nature of Poetry would not belong to these
verses, by reason of their being tainted with the fault termed “ non*
discrimination of the predicate ” — see Chapter 7th :—for the expression
“ in vain ” is faultily mixed up in a descriptive epithet applied to the
subject — the “ arms' — whilst the speaker really intended to say “ how
vain are now these arms that then did swell." On the other hand he —
the author of the Kavya Prakdsa admits that the essence of the high-
n 2

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est Poetry is Suggestion which — see Chapter 2nd — the example above -
quoted presents in abundance— for the speaker does not really entertain
any doubt of his being himself “ alive f tvhilst his making a question
of it suggests in a lively manner his astonishment $ — nor is he speaking
of a literal “ anchoret ” lie contemptuously indicates by that term
the hero Hama ivho had been dwelling in banishment in the forest ;
hence the definition has the fault of “ not extending” to cases which
it unquestionably ought to include.

A compromise 9* “Hut then,” some one may say , “a certain
rejeetod. PORTIOK is faulty here i. e., in the example under

§. 2 ,f but not, again, also the whole — now if we were to apply the
definition with this qualification then see what would ^happen — in
what portion there is a fault, that portion urges that the ease is one
of not-poctry ; in what portion there is Suggestion, that portion urges
that the case is one of the highest poetry ; hence, being dragged in
two opposite directions by its two portions, it would be neither one
thing nor another — poetry nor not-poetry.

h. Nor do such faults as umnelodiousncss (see Chapter 7th) mar
only a certain portion of a poem, but quite the whole, if any part of
it — that is to say — when there is no damage to the Flavour (see
Chapter 3rd,) it is not admitted even that these are faults ; else there
could be no distribution such as the recognised and unquestioned one
— see Chapter 7 th — of faults under the heads of “the invariably a
fault” and “ the not invariably a fault — as it is said by the author
of the work called the l)hicani—“ And the faults, such as unmelodi-
ousness, which have been exhibited, are not so invariably : they have
been instanced as what must be invariably shtanned when the sentiment
of Love is the sole essence of what is poetically figured or suggested .
Moreover, were it thus — (i. e., were it the ease, as your view of the
matter implies, that none but a faultless piece is poetry) then the nature
of poetry would have very few objects of which it could be predicated
— or probably would find place nowhere, from the exceeding unlikeli-
hood of faultlessness in every respect.

A second com- “ Hut then,” some one else may say , “ the ne-

promise rejected, gative particle is employed in the definition §. 2,/,
not absolutely , but in the sense of ‘ a little.’ ” If it were so, then, as
on this interpretation the statement would be this — that “ Poetry

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consists of words and meanings a little faulty,” this absmdily would
follow , that the name of Poetry would not belong to what words and
meanings are absolutely faultless.

Second objoc- j. Should you, however, explain the expression
chmey in the dofi- to mean — 4 with a little fault, if ANT,’ I reply this
too is not to be mentioned in the definition of Poe-
try ; just as, in the definition of such a thing as a jewel, one omits such
a circumstance as its being perforated by insects — that circumstance not
tending to constitute anything a jewel , though it may not cause it to
cease to be regarded as such : — for such circumstances as its perforation
by insects are not able, I grant you , to repel a jewel’s claim to the name
of jewel, the effect thereof is only to render applicable to the case
the degrees of comparison. In like manner, here, such faults as unmelo-
diousness render applicable such terms as “ superior ’ and “ inferior ”
in the ease of Poetry : And it has been said by the author of the
Dhwani : “ The nature of Poetry is held to reside even in faulty
compositions where taste &c. are distinctly recognised, in like man-
ner as the character of a jewel , or the like , is held lo belong to such a
thing as a jewel perforated by insects.”

A third objec- he. Moreover in the definition under § 2. f the
tion. application of the distinction conveyed in the expres-

sion 44 with Excellence” to words and meanings is inappropriate — as is
proved by the fact of its having been declared by him — the author of the
Kavya Braleas a himself, that the Excellences are properties of the Fla-
vour or sentiment alone and hence not of words or their meanings , by
means of such unmistakable expressions employed by him as this — viz.,
“ which Excellences are properties of the Flavour or sentiment , just as
heroism and the like are properties of the soul.”

A compromise l . If some one should yet argue , saying , “ This
th ird° ar objection employment of terms objected to in § 2. k. is appro-
rejected. priate, because there is here a metaphor the expression

“ words and meanings” standing for the flavour , since these viz., the
words and meanings are what reveal the Flavour or sentiment ;
even that way it — the definition would be unfitting. To explain : ill
these “ words and meanings,” which he chooses to regard as constitut-
ing Poetry, there either is Flavour or there is not. If there is not, then
neither is there the possession of any excellence — since the excellences,

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being properties of the Flavour, conform — as regards the being present
or absent — to tlio presence or absence thereof. If on the other hand
there is — then why did he not state that distinction thus — “ words
ami meanings possessing Flavour.” If in reply to this , you contend
“ That is understood, since otherwise there ib an unfitness in predicat-
ing the possession of Excellences which are properties of Flavour
Then I repeat that the proper course was to say “ words and mean -
ings with Flavour ” and not “ with Excellence for no one, when he
has to say “ The regions possess living beings,” says “ The regions
possess heroism and the dike” — although from the expression wo

infer that the regions possess living beings — in whom only can the pro-
perties of heroism and the like reside . ^

A second com- m ’ Eut then some one » i n defence of the definition
promise in re- fa *] ie Xdvya Projects' a, may further contend — “ In

gard to the third J J \ ,

objection reject- saying 1 words and meanings with Excellence, the aim

e( *' was to state this — that in Poetry tin 1 re are to be

employed those words and meanings which dcvelope some one of the

three varieties of Excellence” — if any one does urge this— then I say

No, — this defence will not avail— for, in the ease of Poetry, the pre-
sence even of words and meanings which develope Excellence, is a cause
of its ELEVATroN only — §5., but not the cause of its essence — and
we are not enquiring what heightens Poetry , but what is Poetry ; —
for it has been said by the author of the Dhwani, whose authority the
author of the Xavyd Prakdsa never questions — £< Words and meanings
are merely the body of Poetry ; and Flavour and the like its soul or
essence the Excellences or qualities of Elegance , Energy , and
Perspicuity , — see Oh. 8th— in respect of Poetry , as mentioned in
§ 2. k . are like heroism and the like in regard to men ; Faults ( see Ch.
7th) are like one-eyedness and the like ; Styles (see Ch. 0 th) are like
the particular dispositions of the members of t]ie body ; Ornaments (see
A 4th ob|ec- 10 th) are like bracelets, earrings, and the like.

ti° n - Hence that also which he says — (see the definition of

Poetry quoted under § 2 f) viz., “ and, again, even though undecor-
ated” — I reject — for ( — to state his meaning without ellipsis — ) he
means to say “ Everywhere, when ornamented— and sometimes even
when no ornament appears —faultless words and meanings constitute
Poetry” — and , I say , I must reject this , because here, too, as well as

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in the case referred to under § 2. m., embellished words and meanings,
as regards Poetry, serve only to heighten it.

Another defi- ^ or this reason I reject also the position of the

nition rejected. author of the Vakrokli-jtvita , viz., that “ Equivoque

is the life of Poetry/* because equivoque is of the nature of ornament
—and hence not the body even — much less the soul or essence .

o . . And as for what he — the author of the Kdvya Prakdsa —
instances as exemplifying his assertion that there may be Poetry
“ sometimes when there is no obvious ornament’* — viz., these verses :

“ There is that very husband who gained me as a girl, and those
same April nights, and the bold breezes wafting perfume from the
Naueleas, i^l fragrant with the odours of the full-blown jasmine, —
and "I too am the same : — but still my heart longs for the sportive
doings, in the shape of toyings, under the ratan-trees on the banks of
the lleva :** —

— this requires some consideration — for here where ice were told
that there was no obvious ornament it is plain that there is that du-
biously mixed ornament to be described in Ch . 10 tk which has its
root either in the description of an effect without a cause— the lady
describing Jtcrself not as regretting, but , as longing for what she had
already possessed — whereas possession annihilates longing — or in a
cause without an effect — the lady having sufficient reason for not
longing — while she yet speaks of herself as doing so*

_ , . p. For the same reasons 1 reject such definitions as

Other similar, x # °

definitions object- that involved in the following verse of the Raj A Bhoja

et * fco * in his Saras watt Kanthdbharana,—viz., “ The poet,

making Poetry — i. e., what is faultless and possesses Excellence,

embellished with ornaments, and having Flavour — wins fame and

favour,”

A definition
admitted with a
proviso.

q. And as for what the author of the Dhwani says
— that u the soul of Poetry is Suggestion” — what does
he thereby mean ? Is it Suggestion in its three-fold

* It is but fair to mention that, in the Kdvya Pradipa , a commentary on tho
work containing tho definition which our author persecutes 'so persevoringly, it is
remonstrated that if there bo no other ornament in these verses than that which it

required so much ingenuity to detect, then it was not so very great a mistake
after all to instance the verses as being without “ obvious ornament.”

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aspect — (1) as regards Matter, (2) as regards Embellishments, and (3)
as regards the Flavour and the like,* — that is the soul of Poetry ?
Or is it only that which takes the shape of Flavour ? Not the first —
for then it — i. e* } the definition of Poetry — would improperly extend
to such things as enigmas — where more , no doubt , is suggested than is
uttered . But it the second is what he means to assert— then we say
“Agreed.”

Objections to T ‘ u But then,” some one may object, to the defi-

the proviso re- jdtion with our proviso , — “if Suggestion be the soul
pelted- t-» j

ot Poetry only when it is in the shape of Flavour and
the like — then, in such cases as the following — viz.,

“ i My respected mother-in-law lies here ; and here I mysplf. While
it is day, observe this ; and do not, — O traveller, since you get blind
at night like other people afflicted with night-blindness — lie down
upon my couch, mistaking it for your own ” —

— in such cases as this— the objector may ask — “ As there is the
suggestion of a matter simply — the speaker here intending to suggest
the traveller's doing the reverse of what she sags — how on such terms
can you apply the name of Poetry to this ?” If any one asks this —
we say that here also — wh ilst we admit that there is Poetry— we admit
it only because there is a semblance of Flavour and the semblances of
Flavour , as we shall have occasion to declare further on — see § 3. b.
— are admitted to constitute Poetry ; — and there is here the semblance
of the Flavour of Love — a sentiment real only where legit imate — for
otherwise — i . e if we admitted the foregoing to be Poetry without
shewing that it had any reference to Flavour then there would by
parity of reasoning be Poetry in the proposition “ Devadatta goes to
the village” — from its being understood that there is here also some-
thing suggested— in the shape, viz., of his being attended, as a gentle-
man usually is , by his followers. If you say , “ Be it so "—that the
expression “ Devadatta goes to the village ” is Poetry , on the strength
of the unqualified definition given by the author of the i Dliwani*

I say , No,— for I will allow the name of Poetry to that only which has
Flavour.

Concurrent tes- Fc > r the aim of Poetry is by means of giving a

„imouii‘B cited, f un d () f delight in the shape 0 f the relishing' of

• See Cli. IV. § 255— 56— 57— 58.

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Flavour, — in the case of princes and the like, averse to the Scriptures

and tho Institutes of Science, with very tender minds, and proper to be
taught, — to inculcate the practising of what ought to bo done and the
forbearing from what ought not to be done, — and this it aims at
effecting hy inculcating thus — “ One ought to act like llama and not
like Havana” — as has been declared even by the ancients* And so too
it is stated in the Agneya Pur&na -viz., — “ In this, — Poetry , which is
rendered first-rate by skill in words, Flavour alone is the ltfk.” Also
by the author of the Vyakti-viveka it is said, — “ As to the fact that
the soul of Poetry — meaning hy the soul that in respect of which
everything else is something subordinate ---is Flavour and the like — no
one has anj^di jference of opinion.” 80 also the author of the ‘ Dhwani’
says— as for instance, — “ For not merely by narrating — ‘ Thus it fell
out’ — is the soul of Poetry compassed ; — for that — viz., the mere
narration of events can be effected even through Histories* and the
like such as the J\J a hub karat a — which histories , though in verse , are
not held to be poems.”

Objections ro- u - “But,” some one may object — “ if Flavour is
P c11ol1, the essence of Poetry — then some flavourless — e. g .,

simply narrative — verses in the composition will not be Poetry — and
thus the difficulty will reem — see § 2. g. — as to whether the compo-
sition , as a whole , is poetry or not poetry — if any one aryues thus ,
then I say , No, —for, as we allow that words, themselves tasteless, have
a flavour when included in tasteful verses, so do we hold that those
verses which may , in themselves , be insipid have a flavour through the
llavour of the composition itself in which they are embodied. And as
for the customary application of the term Poetry to those separate
copies of verses even that are without Flavour, in consideration of the
presence of such letters ( — see Oh. 8th — ) as give rise to some of the
varieties of Excellence, and the absence of faults, and the presence of
ornaments — that is merely a secondary, not a strictly technical appli-
cation of the term, which has come into use from the superficial re-
semblance of such verses to poetical compositions which do possess
Flavour and which alone are Poetry in the strict application of the
term.

So Aristotle — Poetics, Ch. IX. — says, “ tho history of Herodotus might bo
Written in verso, ami yet bo no loss a history with metre than without metro,” &e.

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Other defini- v - And as f° r what Vainana says in his Aplior -
tions objected to. j sm — that “ The soul of Poetry is the Style ” — or
Diction — sec Ch. 9th — it is not so : — for a Style is a species of dis-
position — and disposition consists in the arrangement of parts — and
the soul is something different from that. And as lbr what lias been
said by the author of the ‘ Dlnvani’ — that “ A Sense commended by
the man of taste — , which, it has been settled, is the soul of Poetry, —
of this i. <?., of such Senses two kinds are mentioned, named respec-
tively the expressed, or literal , and the understood otherwise than
literally ’ — the allegation , Isay , here — that the soul of Poetry can
consist of an expressed Sense — is to lie rejected, by reason of its
contrariety to his own declaration, quoted under § 2. viz., that
“ The soul of Poetry is suggestion” — sec § 10.

Tho imtlior’s w . Then what, after all, is Poetry ? To this it
own definition of .

Poetry. is replied as j allows ; —

Text.

3. Poetry is a Sentence the soul whereof is Flavour.

Com ME XT A ItY.

a. We shall declare (in Ch. 3rd) what it is that Flavour consists
of. Flavour alone — the text declares — is the soul of Poetry — essentially
the cause of its life — -since it is not admitted that, without thi.*;, any-
thing is Poetry.

b. The Sanskrit word for Flavour —viz., 4 rasa/ by regular deriva-
Three degrees tion from (Adverb ras “ to taste or relish signifies

n bed °i n ° he “ what is tasted, or relishcS.” So in this — i. e., under

nition. f he term rasa are included the incomplete Flavours,

and the semblances, &c. thereof — which will be treated of in Ch. 3 rd.

The first degree Among these, then, we may have Flavour complete
per!* avour pro ^ ^ ^ ^ as exemplified in the following verses

•— viz

“ Perceiving that the house was empty, having arisen very gently
from her couch, and having for a long time gazed upon the face of her
husband counterfeiting sleep, having confidently kissed him, — then
seeing his cheek quiver, the girl, with face downcast through modesty,
was long kissed by her laughing lover.”

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For in this example there is the Flavour, or Sentiment , called, to
distinguish it from the love of separated lovers, '‘love in union.”

The second do- c. Incomplete Flavour is exhibited for example
noV jittainiiip' ita in the following verses of the great minister, man-
full development, a ger of the questions of peace and war, Raghava-

n an da : —

“ To the limit only of whose lowest scales, when incarnate as the Fish,
tin* ocean reached : on whose tortoise back rested the globe of the world ;
* on whose boars tusk the earth was upheld ; on whose man-lion claws
the lord of the sons of Diti expired ; in whose footstep, as the dwarf
Yamuna , both worlds found their measure as he traversed each at one
step ; at wl^osc rage as, Farusardma, the hands of the Kshattras melted
meat/ ; on whose arrow, as llama, the ten-headed Havana met his death ;
in whose hand, as Krishna, Prahimbasura expired; in whose contempla-

tion, as U add ha, the universe melted into its proper nothingness ; on
whose sword the race of the evil-doers will perish when the tenth
incarnation shall lake place ; to Him, whoe’er lie be, all bail !”

In this example the Flavour of love -its object being the Deity —
is an incomplete Flavour- -seeing that the De.it g is no Jit object, Jar
instance , of those tendernesses, ^*6*., which belong to the Sentiment oj
Imre proper — ang more than, a son , against whom one mag feel angry
for a moment, is a jit object of those hostile attacks in which Anger
proper naturally rents itself and the description of which conduces to
reproduce, in Port rtf, the Sentiment itself in its completeness.

The third do*
fpve, or the seui-
hl.’Uirenf Flavour
whether fully de-
vrlnpud or not.

d. The semblance of Flavour is exhibited, for ex-
ample, in the following verses —

“ Accompanied, in one !!ovver-bell, by bis loved
mate, the honey-bee- drank nectar ; and the black

deer, witli bis horn, scratched the doe, who, at the touch, bent down

her eyelids.”

For since, in this example, tlm Flavour of “ love in union”— §3. b.
is located in the lower animals, there is a semblance of that Flavour
which is rer/arded ns Hal when it occurs in mankind ; and so of others
—for, having exemplified the. threefold varied g of poetic emotion in
the case of one of the passions, it is unnecessary to exemplify it in all.

Fanil* tlulinod «• Thc "’ ^ooiry, of what nature arc

generally. faults — which ice do not consent— see § 2. f. — to

v 2

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regard as destructive of Poetry ? To this it is replied in the follow-
ing half of a line which completes the half-line No . 3.

Text.

4. Faults are depressors thereof.

Commentary.

a. Unmelodiousness, incompleteness in the sense, Ac., operate
depreciatingly on Poetry through the words and meanings — as one-
eyedness and lameness operate depreciatingly on man through the *
body ; and in the second place, such faults as the mentioning of the
Accessories or the like — see § 108 — by their own names bluntly ,
instead of suggestively, — these being faults which depreciate the
Flavour which is the soul of Poetry, not mediately, like the former
class of faults, but directly, as idiocy depreciates directly the soul of
man — both of these classes, are called in the text the depressors of
Poetry. Special examples of these various faults we shall mention
in their proper place — viz., in Ch. 7th .

Excellences, &c., 01“ what nature are the Excellences, or Merits,

defined generally. &e., which were alluded to under §2././ To this
it is replied—

Text.

5. Excellences — Ch. 8 th — ornaments — Ch. 10th, — and Styles — Ch.

9 th — are called the causes of its elevation.

Commentary.

a. Excellences, or good qualities — as already remarked under § 2.

1c. — are, in regard to Poetry , as heroism, &<?., in regard to the soul of
man. Ornaments are to the language of Poetry as bracelets, earrings,
Ac., to the human figure. Styles are a kind of arrangement of parts lead-
ing to different varieties of Poetry, as different muscular arrangements
may qive a man the symmetry of a Hercules or that of an Apollo.
Elevating, as they do, through words and meanings, as through its
body, the Flavour simply which is the soul of Poetry, these are not
incorrectly called the heightened of Poetry, for this rises, of course
with the Flavour, of which it consists ,

h. Although the Excellences here — spoken of in the text — are pro-
perties of Flavour, — and how — it might be asked — can they he heighten -

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ers of it through words and meanings to which they do not belong f —
yet the word “ Excellence” is employed here by synecdoche for “ the
words and meanings which dev elope Excellence or poetical merit
and hence what is meant is this— that words which develope Excellence
are heighteners of the Sentiment, as was said before — see § 2. m.
Special examples of these — i . e of ornaments, fyc., — we shall mention
in the proper place.

c. So much for the “ Declaration of the Nature of Poetry” — the
first chapter of the “ Mirror of Composition,” the work of the illus-
trious Vis'wanatha Kavimja, that bee of the lotus-feet of the divine
Namyana, the pilot of the oc(^i of composition, the best of guides on
the road of ingeniously poetic Suggestion, the jewel-mine of the poet’s
finest utterances, the lover of that nymph embodied in the Eighteen
Dialects employed in dramatic composition — see Ch. 6th — , minister of
the peace and war department.

CHAPTER II.

The Declaration of the Nature of a Sentence.

Having declared— § 3 — that Poetry is a kind of Sentence , and the
meaning of the term Sentence being as yet undefined , he declares what a
Sentence consists of.

• Text.

A Sentenco do- 6. Let a Sentence mean a collection of words pos-
fi nec h sessing Compatibility, Expectancy, and Proximity.

Commentary.

a. * Compatibility* means the absence of absurdity in the mutual
association of the tilings signified by the words . If the nature of a
sentence belonged to a collection of words even in the absence of this
compatibility of the things signified , then such a collection of words
as “ He irrigates with firo” would be a sentence, which it is not here
held to be fire — and everything but water — being incompatible with
irrigation*

The Mirror of Composition.

b . 1 Expectancy’ — “ the looking out for ’ some other word in eon -
sf ruction — means the absence of the completion of a sense ; and this
absence of a complete sen se consists in the listener’s desire, on hearing
the word, to know something which the other words in the collection
will inform him of— if the collection of words is a sentence. If tho
nature of a sentence belonged even to that col tret ion rf non inter-
dependent icords where this expectancy is wanting — then such a
collection of words as “ cow, horse, man, elephant” would be a sentence.

c. i Proximity’ means the absence of an interruption in tho appre-
hension of what is said . If there could be the case of a sentence
even when there is an interruption ii*;he apprehension, then there
would be a coalescence— into one sentence—' of the word “ Devadatta,”
pronounced just now, with the word “ goes” pronounced the day alter.

d. Since expectancy (§0. hi) and compatibility (§ 0. a.) are proper-
ties, the one, of the sot' r,, and the other, of Til i \os it is by a figure of
speech that they are here — i. c. y in the text § G. — taken as properties
of a collection of words.

Text.

7. A collection of Sentences is a Great Sentence.

Commentary.

a. Only if this Great Sentence too possess the requisites mentioned
in § 6— of compatibility, expectancy, and proximity.

Text.

8. Thus is a Sentence held to be of two kinds.

Commentary.

a. “ Thus” — that is to say, inasmuch as it may be a Sentence
(see § G) and inasmuch as it may be a Great Sentence (see § 7).

b. And, if a justification of this employment of terms be required ,
it is said by liharlrihari in his Vahyapadtya : “ Of Sentences, com-
pleted as regards the conveying of their own meaning, when put to-
gether, there becomes further, through their being viewed under the
relation of parts and whole, the nature of a single Sentence.”

c. To give examples of these two kinds of tic ill cnees, there is
the Sentence simple — as in the verses given at length under § 3. b .

The Mirror of Composition.

— vis. — “ Perceiving that the house was empty, &c.” The Great
Sentence is such a collection of sentences as the Hit may ana of Vdl-
miki, the Maluibharata of / r ydsa, and the Kaghuvans'a of Kalidasa.*
d. It has been stated in § (5 that a collection of words is a Sen-
tence. But the question remains then what is the criterion of a
word ? Therefore he says : —

Text.

Definition of tho 9. A word means letters so combined as to bo
term word. suittyl for i^p, not in logical connection one part

U'ilfi another — conveying a meaning, and only one.

Commentary.

a. As — for example—* 1 jar*’ is a word,

b. By the. expression employed in the definition u suited for use”
the erode form, in which a vocable appears in the Grammar before
read ring its inflection , is excluded from briny reyarded as a word.

e. By the expression employed in the definition “ not ill logical
connection” the exclusion is effected both of Sentences and Great
Sentences which — § 8 — consist of letters, and are suited for use , —
but which , as their parts arc connected in sense , arc not to he deno-
minated “ wonts.”

d. By the expression employed in the definition “ only one” the
exclusion is effected of sentences containing a plurality of words
inter-dependent — see § (>. b. — yet not excluded by the limitation under
§ 9. c ., which refers oifly to words in logical connection , without
ellipsis ; while , In/ the present exclusion , a collection of words not in
loyical connection but yet , when the. ellipses are supplied inter-de-
pendent, is debarred from being regarded as a “ word.”

e. By the expression employed in the definition “ conveying a
meaning” the exclusion is effected of such unmeaning combinations of
hiters as i kaeliatatapa — which is an unmeaning combination of the
first letters of the Jive classes of consonants.

* Comparo Aristotle — Poetics, Oh. xx. — “ But a, soutcnco is ono in a two-fold
respect; for it is either that which signifies one thing, or that which becomes
one lVorn many by conjunction. Thus tho Iliad, indeed, is ono by conjunction.”

The Mirror of Composition i

f By “ letters” in § 8 it is not intended to speak of a plurality,.
~-for a word may comist of a single letter .

g. In that — i. e., in a “ Word” — what meaning may reside , is next

to he considered.

Text.

9. The meaning that may belong to a word is Held to be threefold

—viz., Expressed, Indicated, and Suggested.

Commentary.

a. The nature of these three Meanings he next

states : — £

The three pow-
ers of a word —
Denotation, Indi-
cation and Sug-
gestion.

Text.

10. The Expressed meaning (vachya;. is that
conveyed to the understanding by the icord's Denotation (abhidha) ;
— the Meaning Indicated (lakshya) is held to be conveyed by the
word's Indication (lakshana) ; the meaning Suggested (vyangya) is held
to be conveyed by the word's Suggestion (vyanjana). Let these be
the three powers of a word.

Commentary.

a. u These” — i. e. y Denotation and the others.

Text.

Denotation tho 11. Among these three powers of a word the

leading power of .

a word. primary one is Denotation, for it is this that conveys

to the understanding "the meaning which belongs to the word by
convention which primarily made it a word at all.

Commentary.

How the con- a , Mow one learns tile conventional meaninq of

ventional force of 47 ^

words is learnod. words may be illustrated thus : — On the old mail’s
saying — when giving directions to the middle-aged man — “ bring the
cow,” — the child, having observed him — the man to whom the order was
given by Ms senior , employing himself in bringing the cow, determines,
first that u the meaning of this sentence was the fetching of a body
possessing a dewlap, &c.” and afterwards, through the insertion and
omission of the portions of the sentence “ bring the cow ” ivhich he as yet
understands only in the lump , in such other sentences heard by the child
as “ fasten the cow” — “ bring the horse” — he ascertains the convention
that the word “ cow” shall mean “ the thing with a dewlap, &c.,” and

The Mirror of Composition.

tlie word “ bring” shall mean lt fetching.”

b. And this is not the only process by which the conventional mean -
ing of a word may come to be known— for, sometimes the meaning of
a word may be gathered from the utterance of familiarly known words
along with it — as in this example — viz., “ In the bosom of the ex-
panded lotos the honey-maker drinks honey” — where the hearer , know -
ing that bees drink the juice3 of the lot us y infers that it is the bee that
is here called the honey-maker, and that the juice of the lotus , ex-
tracted by the bee , is called honey.

c. Sometimes the conventional meaning of a word is learned from
the instruction of one wor % of confidence — as when such a one
declares “ This”— pointing — suppose to the animal — “ is what is
denoted by the word horse.”

d. And it is that power of a word which conveys to the under-
standing the conventional meaning without the intermediacy of any
other power of the word that is called here — in thfi text § 11 — Deno-
tation.

Text.

12. A convention whereby the expressed meaning
of a word is settled is accepted, by men among them -
selves , in regard to Kinds, Qualities, Things, and

COMMENTARY.

Kinds. a. By a “ Kind” — or genus— is meant the

nature of a cow and the like which resides in the particular body
called cow and the lik G-mnd in virtue of which the thing is a cow or
the like .

Qualities. b. By “ Quality” is meant a settled habit of a

thing which is a cause of making a distinction between one thing and
other things of the same genus : — for the qualities white, and the like,
differentiate such a thing as a cow from its congeners— such as a
black cow.

Things. c. Names of “ Things” are those that denote a

single individual — as Hari: — the name of the god Vishnu , Hara the
name of the god Siva , Dittha, Davittha, and other proper names.

* These four are tho Categories of the Hindu grammarian.

Four-fold Divi-
sion of words in
respect of whut
they denote.

Actions.*

The Mirror of Composition.

Actions. d. “ Actions’ * are habits of a thing not settled ,

as qualities are — see § 12. J.— but in course of accomplishment —
such as “ cooking’* — which is the habit of a thing whilst in progress
towards being ready for eating : — for, what is denoted by such a word
as “ cooking” is the collection of proceedings, from first to last, such
as the putting on the pot with the rice to boil and ultimately taking
it off the fire again.

e . For only in respect of these four — § 12. — distinguishing charac-
ters of all individual cases that call for the employment of words is
a convention made, and not in regard to individual cases themselves —
lest there should befal the fault of enHessness in the fabrication of
words , or of vagueness, inasmuch as — to use the illustration of the Kfivya
Pradipa — if in assigning to such and such individuals the name of
“ cow,” we made no convention as to the generic character of the
individuals , then water-jars would lay claim to the name as fairly as
any cows not specified individually .

f Now “ Indication” — the second power of a word — see § 10 — is
explained .

Text.

Indication— 13. Where the principal meaning of a word — see

what power of a . . . .. . . , n _

wor( j i § 11 — is incompatible with the rest oj the sentence

— see § 6. fl. — this power of Indication is communicated to the word ,
whereby another meaning than the expressed one — yet in connection
therewith, becomes apprehended, either through Notoriety of the
employment of the word in some particular secondary sense or through
a Motive — discernible in the connotation— for using the word rather
than some other word which would have merely denoted the thing
expressly .

COMMOTABY.

The power by which, in such an expression as “ The impetuous
Kalinga,” a word, such as “ Kalinga,” incompatible with the epithet
tl impetuous ” — if taken in its own sense — such as that of a particular
country on the Coromandel coasts causes one to think of, not the
country, for instance, that the word denotes , but the men, for instance,
connected therewith ; — and— to give a second example — the power by
which, in such an expression as “ A herd-station on the Ganges,”

The Mirror of Composition .

a word, such as u the Ganges,” incompatible with the matter in ques-
tion — here } viz., the actual site of the station of herdsmen — inasmuch
as the thing that it denotes is in the shape, for instance, of a mass of
water, on the surface of which the herdsmen could not have built the
huts of which the herd-station consists , causes one to think of some-
thing connected with itself by the relation of proximity or the like —
such as the river’s bank, — this power of a word — communicated to
it (§ 13) — other than the power which ( — to use the language of
some — ) belongs to it naturally, or which is not ( — to use the lan-
guage of others — ) that given to it by God — this second power it is
that is called Indication. ^

Two source s of J. In the former of the two examples under §

cation— Notorie- 13 - «• thc reason wh 9 the word denoting the region
ty, and a Motivo. 0 j* Kalinga has the power of indicating the inhabit-
ants of that region is “ Notoriety”* see § 13.,— thc fact, simply, of
its being familiarly known that the name of the region is employed to
signify its inhabitants. In the latter of the examples, the “ Motive
—see § 13 .—for using the word “ Ganges ” when toe really mean
u bank of the Ganges consists in this, that it causes one to think of
the extreme of coolness and purity pertaining to the Ganges itself ,

which would not have been thought of from the exposition oi the
same matter in the shape of the expression “ A herd-station on the
bank of the Ganges.”

c. If a word were, without a reason, to indicate
Wliytho sources *

of the power of whatsoever has any relation to that which the word
quhTtobe spool, denotes, then there would be an excessive influx of
a ll sorts of associated ideas — everything in the world

being related in some wag or other to everything else , hence in the
text — § 13 — it is stated that this power of Indication arises u either
through Notoriety or through a Motive ” — the ordinary relations
furnishing which latter , are specified under § 17. e.

Alleged insfcan- But some — among whom is thc author of the

roj ? Jtod. ndlCatl0n Kavya Prakds'a — instance the expression “ Expert
in business” as an example of the power of Indication arising see §
IS— from “ Notoriety.” What they mean to say is this— that the
primary meaning of the word kus ala u expert that, viz., of “ a

In the original, which might be more intolligibly rendered usage . P. M.
D 2

The Mirror of Composition.

gatherer of sacrificial grass” — from the etymology kus'am Uli “ who
gets sacrificial grass*' — being incompatible with the matter in question
— viz., “ business causes one to think of the sense of “ expert”
which is connected with the primary sense of “ the gatherer of sacrifi-
cial grass” through the relation of a similarity of character in respect
of the being a person of discrimination — which the gatherer of sacrifi-
cial grass must be, else he could not tell one hind of grass from an-
other* Others do not accept this view of the matter , for, according to
the view which these prefer , the primary meaning of the word has ala is
simply that of “ expert” — notwithstanding that the sense of “ gather-
er of sacrificial grass” might he gathered from the etymology : — for,
the reason for the technically recognised etymology of words is one
thing — viz., the convenience of the Grammarians , who must find an
etymology , however farfetched^ for every word that is not a radical — ,
and the reason for the employment of a word is another — viz,, the
fact of the word's having , by convention , such a denotation as the speaker
happens to have occasion for . If the primary meaning of every word
were that which is to be gathered from the etymology, then in the
example “ The cow sleeps” also there would be “ Indication” — because
when speaking of the animal even at the time of its sleeping and
therefore lying still , one makes use of the word * go’ (cow,) which
word * go’ is formed by the affix ‘ do’ put after the root gam “ to
move” — according to the direction of JPanini — viz . “ gamerdoh”
i. e., “ let the affix “ do" come after the root “gam" and the word “ go ”

* a cow ’ will be the result

e. He next States the distinctions of this power
of Indication, *'

Text.

14. The primary meaning’s hinting something
else which is required fin addition for the establishment
of a logical connection among the things, and not a mere grammatical
connection among the words in the sentence— let this, when the
primary meaning itself also is taken in, be called therefore ‘ Inclusive

Indication’ (updddna-laksliana ) .

Commentary.

o. Inclusive Indication, where the sowoe of the power — see § 13

J.— ■>'* Notoriety is exemplified in such sentences as “The White

Indical ion divid-
ed into inclusive
and indicative.

Indication in
elusive defined.

The Mirror of Composition .

gallops — and where the source is a Motive — in such as “ The
Lances enter.’* For, in these two cases, “ white” and “ lances,”
being things inanimate, cannot alone have a logical connection,
as agents, with the actions “ galloping’’ and “ entering,” and so,
with a view to the establishing of this topical connection among the
things expressed in each sentence , they hint “ horses,” and “ men,”
which are connected with themselves i. e, y with * white” and
“ lances ” — so that we understand “ The white house gallops 41 The

Indication in- MEN " with lances enter” In the former of the two
elusive? twofold cases exemplified , as there was no Motive for speak -

source. ing,for instance , of the horse as white — ivhich term

hints nothing beyond the whiteness , — the source of the Indicatory
power in the expression is Notoriety — the horse being necessarily well
known as “ the white ” by the person to whom the remark was intelli-
gibly addressed . In the latter of the two cases exemplified , the Motive
for speaking, for instance , of “ lances ” instead of 44 men with lances”
was to direct attention to , lor instance, the extreme denseness of the
phalanx of lances. And in these cases the primary sense also § 13.
is taken in — -for the whiteness accompanied the horse in its gallop, and
the lances accompanied the men who entered with them . But in simply
Indicative Indication there is implication only of something else — to
the exclusion of that which indicates . Such is the distinction between
the two kinds of Indication ; and it is this first kind that is spoken
of as 44 the use of a word without abandonment of its sense.”

Text.

Indication in- 15. 'The abandonment of self, with a view to the
dicativo deiined. establishment of the logical connection of something
else with something in the sentence — this, since it is the cause of an
indication, and of nothing more ; is 4 Indicative Indication’ or Indica-
tion * simply — (lakshana-lakshana ) .

Commentary.

a. For instance — " The impetuous Kalinga,” and “ A herd-station
on the Ganges” — see § 13. a,— are examples of Indication simply —
for, in these two examples , the two words 44 Kalinga” and 44 Ganges”
give themselves up — sacrificing their own sense — of a region and a

s,0 114 .

?H' MIMAKR'ShtiA
itoSTrr i or llTuke

The Mirror of Composition .

river — for the purpose of establishing, in logical connection with the
things in the sentence, “ a man” and “ a bank or we may have In-
dicative Indication in such a case as the following — addressed to one
who had injured the speaker— viz.,

“ Much' benefit have you done : — how is it to be expressed ? Bene-
volence alone has been exhibited by you, Sir. Acting thus ever, 0
friend, may you be happy therefore for a hundred years.*’

Here, in order to establish, in logical connection with the other
matters in the sentence, “ injuries,** &c. which are what are really
meant to he spoken of—, the words “ benefit” and the like give them-
selves up and stand , ironically , for injuries and not for benefits at all.
In this example, there is an incompatibility in the primary meaning
of the sentence , since it ascribes benefit <fcc. to an injurer. The
relation between what is here indicatory and what it indicates is that
of contrariety — the mode of Irony — , and the result is this that the
excess of injury is understood to be complained of and imprecated.
It is this kind of Indication that is spoken of as “ the use of a word
with abandonment of its sense.”

Text.

Further subdivi- 16. These, further, are severally twofold, through
sion of fourfold . . . // , , T „

Indication into the bupenmposition ( uropa ) and Introsusception ( adhya -
Superimponent Vas / im \
and the Introsus-

ceptivo. Commentary.

a . “ These” — i. e., the aforesaid four kinds of Indication — see §
13, 6. and e.

Text.

17. Lot that Indication be Superimponent which makes one think
of the identity with something else of an object not swallowed by
that with which it is identified , but expressed along with it. That
Indication is held to be Introsusceptive which makes one think of the
identity with something else of an object swallowed — not expressed ,
but recognised as it were inside of that with which it is identified.

Commentary.

a. Thus, thcn h first ive may have Superimponent Inclusive Indi-
cation (§ 11) the source of the power — § M a. — being Notoriety : — as

The Mirror of Composition .

in the following example — “ The horse — the white — gallops.” For
here the horse, the possessor of the quality “ white,” — in the shape
of the unsuppressed term “ horse ” — and hence of something “ not
swallowed” (§ 17), — is thought of as identical with the colour “ white”
which inheres in it : — that is to say — “ the horse ” and “ the white” are
understood to mean here just one and the same thing .

b. Secondly , we may hade Superimponent Inclusive Indication— §
17. a . — the source of the power — § 14. a . — being a Motive : — as
in the following example — “ These — the lances — enter.” Since the
pronoun denotes the men bearing lances — who — see § 14. a . — are
denoted also by the word “ lances ” — there is here a case of the Su-
perimponent.

c . Thirdly ice may have Superimponent Indicative Indication,
(§ 17. a.,) the source being Notoriety (§ 13. b.,) as in the example
“ TheKalinga — the man — fights.” Here it may be remarked that the
relation between the “ man” and the region of " Kalinga” is that of
location and located.

d. ‘ Fourthly , we may have Superimponent Indicative Indication
the source (§ 14. a ) being a Motive — as in the example “ Longevity
— butter.” Here “ butter,” the cause of “ longevity,” is thought of
as identical with the “ longevity” related to it through the relation of
cause and effect. The Motive for speaking of butter as “ longevity ”
is the fact, which it is desired to call attention to, of its causing lon-
gevity differently from anything else — no other article of Hindu diet
being so nutritious — , and invariably — butter , as a prolonger of life ,
Icing reckoned infallible .

e. Or of this fourth case — § 17. d — to take other examples Ulus -
trating the most ordinary relations, besides that of cause and effect , by
which this employment of language is prompted — as — when a man
belonging to the king is going — one may say “ The king — this one
“-goes.” Here the relation is that called the relation of owner and
owned. Or as — when there is meant only the foremost portion of the
arm from the elbow — all of which, in Sanskrit , is called a the hand

one may say “ The hand — this —from the wrist downwards .” Here
the relation is that called the relation of whole and part. Or when
it is even a Brahman that one is speaking of, one may say u The
carpenter— he” — while } strictly speaking } it is impossible that a man

The Mirror of Composition .

of the Brdhman tribey though working in woody should be a man of
the carpenter tribe. Here the relation is that of tho doing the work
of so and so. Or when sacrificial posts to which the victims are tied ■
for Indra are spoken bf — one mag sag u These Indras.” Here the
relation is*that of being for the sake of so and so. And so in other cases,

f The Introsuseeptive Indication which makes one apprehend
the identity with something else of the “ object swallowed” (§ 17), on
the other hand, — the examples from § 17. a. downwards having il-
lustrated the case of objects “ not swallowed ” — of this, in its four
varieties, the preceding examples may serve as exemplifications , if yon
expunge the term denoting the “ object swallowed ,” — thus reducing the
examples to the following form — viz. “ The White gallops ” — “ The
Lances enter ” — “ The Kalinga fights” — and — butter being meant by
it — ‘ Longevity ” — as when we say “ lie eats longevity” meaning “ He
eats buttery tohich will make him long-lived.”

Text.

Further subdi- IB. All these, when the relation is other than that
vision of eightfold 0 f likeness, are called Pure (suddha) ; but when

Indication into .

the Pure and the they arise trom likeness, they are reckoned Quah-
Qualitativo. tative (Gauna). By this they are divided into

sixteen.

Commentary.

a. “ These” — i. c\, the aforesaid eight kinds of Indication. “ Re-

lations other than that of likeness” are the relation of cause and effect.
&c. see (§17. e.) %

b. Of the Pure varieties among these, the preceding examples from
§ 13. a. to 17. b. inclusive are exemplifications.

c . Superimponent Inclusive Indication Qualitative, when the
source of the power ( see § 17. a.) — is Notoriety, is exhibited in such
an example as ** These oils — pleasant in the cold weather, when,
rubbed on the body , they keep out the cold.” Here the word “ oil,”
taking along with it — (whence the Indication — see § 14 — is “ inclu-
sive’ ' — ) its primary meaning, which is in the shape of tho unctuous
matter expressed from sesamum 6eeds ( — the Sanskrit name of this
fluid — viz., taila — being derived from the name of its most usual
source — viz., tila “ the seeds of the sesamum as the English word
M oil ” is derived from the Latin name of the olive trerj) is applied

The Mirror of Composition.

notoriously to other unctuous fluids also, such as that expressed from
mustard seed, which fluids are like it. It may he remarked that the
Indication in this example is termed Superimponent because of the
presence of the pronoun “ these — see § 17. h .

d. This form of Indication — the Superimponent Inclusive Quali M
tative — when the source of the power is a Motive is exemplified in
such sentences as “These — the princes — go” — employed,— as such a
sentence often is, when princes and persons like thereto, are going.

e. Introsusceptive Incdusive Indication Qualitative, when the source
of the power is Notoriety, may be exemplified by the example under §
IS. c. 9 omitting the pronoun — thus— “ Oils — pleasant in the cold
season and when the source of the power is a Motive, by the ex -
ample under § 18. d., with the like omission — thus — “ The princes go.”

f. Then again ice have Superimponent Indicative Indication
Qualitative, when the source of the power is Notoriety : — as “ The
king clears away the paltry foe — the chief of Gauda,” — where the word
4 kaniaka which primarily means a thorn * is idiomatically , or accord -
ing to common usage, + used in the sense of a small foe , from a likeness
between the two objects : — and when the source of the power is a Motive
— in such an example as “ That cow — the ploughman.”

g . Further, we have Introsusceptive Indicative Indication Quali-
tative— when the source of the power is Notoriety : — as “ The king
clears away the paltry foe (kaniaka) ;” — and when the source of the
power is a Motive : — as “ That cow talks”— these two examples differing
from those under § 18 .f in the suppression , or introsusception of a term .

Misconceptions A * In this ease— that of “ That cow— the plough-
disposod of. § 18 .f — instead of admitting, as they ought ,

that the man is indicated by the word “ cow”— -some say “ The qua-
lities which belong to a cow, such as senselessness and sluggishness,
are indicated ; and these serve as causes why the word 1 cow* denotes
the thing properly called ‘ ploughman/ ” This is not right —
because the word “ cow” cannot denote the thing properly called
“ ploughman,” in respect of which no convention was entered
into ( — it being only through convention— see § 11 — that a word

* Which sense it entirely gives up, and hence this is a case of Indicative
Indication. P, M

t So it is an Indication under Notoriety, or Usage, P. M.

The Mirror of Composition.

can primarily denote anything) ; and because it denotatively makes
one think only of the dewlapped and long-tailed thing meant by
the word “ cow,” since the power of denotation is exhausted there-
in, and there is no resuscitation of that power thus exhausted — or
functus officio , in making one think of the genus “ cow” — see § 12.
Others again, partially correcting the statement above quoted , say,
u The THING properly called ‘ ploughman’ is hot denoted by the
word 4 cow,’ but only the qualities belonging to the * ploughman’
are indicated as being of the same kind as the qualities belonging
to the thing which the word i cow ’ itself denotes.” This second view
also, others and tee ourselves do not accept. To explain -In this
expression under discussion , is the sense of “ plough man,” understood
from the word 44 cow,” or is it not ? On the former of these alter-
natives — is this sense understood merely from the word “ cow” em-
ployed denotatively , or, through the ins jpar ableness of qualities from
that in which they inhere — is it , I ask , understood from the qualities
of sluggishness , Sfc. indicated by the word “ cow /” Not the first, of
this subordinate pair of alternatives , can be accepted , because this
word 44 cow ” is not assigned by convention to the thing properly called
" ploughman nor the second, because there is no room for a sense
gathered from inseparableness— such, e. g., as that of a quality in
respect of that whereof it is inseparably the quality — when there is
a concordance between the words — as we see there is in the example
— the two words being in apposition — in the same case — as denoting
the same thing , for a word's expectancy — when looking out for another
to agree with it— see § 6. b . — is fulfilled only by a word— and not
by a sense connoted in a word [ and such as, if expressly declared ,
would appear under the form of a word in a different case — e. q . —

“ a man of bovine stupidity” Nor is the second alternative , of the
first pair , admissible — for, if the sense of 44 ploughman,” is NOT
understood from the word “ cow,” then the agreement in case, of
this and of the word 44 ploughman” which the example exhibits, would
be improper— *2 being only words signifying the same thing that agree
in case. Hence here the word “ cow” having no logical connection
in its primary character i. e., as a denotative term — see § 11 — with
the word 44 ploughman,” indicates the thing properly called 44 plough-
man” through the relation ( see § 13, c.) ol community of properties

The Mirror of Composition .

between the cow and the man — such as ignorance. The Motive (§ 13.,)
in which the power of Indication here talces its rise is the causing one
to think of the excess of ignorance and the like in the ploughman.

Why fcho forms *• And this kind of Indication — § 18, c. d. e. f
Pure and Qualita* g — j s Ga lled Qualitative because of the association
of. of a quality — the thing indicated being understood , in

this case , to have the qualities of that by the name of which it is
metaphorically indicated ; but the former kind of Indication — § 18.
b . — is Pure, there being no admixture of metaphor in it. For Meta-
phor consists in the simply covering up the apprehension of the
difference between two things absolutely distinct, by means of a
reference t ) the greatness of the amount of their likeness : — as that
of “ fire,” and “ a boy” so hot-tempered that we call him a perfect fire ,
But in “ white” and “ cloth,” there is no apprehension of difference
at all — that which is really “ cloth ” being that which at the same time
is really “ white ” and is not merely metaphorically called “ white ” — *
whilst that which is really a “ boy ’ is not really “fire," but only like
it, and hence metaphorically called it. Hence in such cases as that
where u cloth" is called “ white ” the Indication is quite pure — (§ IS).

Text.

10. Let Indication for a purpose be twofold,
in respect of the Abstruseness or the Obviousness of
what is s

Further subdi-
visiouof one eight-
fold brunch of In-
dication accord-
ing to fchu Ab-

Btruaeuoss or the
Obviousness of
wliut is suggested.

COMMEHTARV.

a. Where the source of the power of Indication § 13 b. is a Mo
tive, Indication of eight sorts has been exhibited (§ 18.) These,
having become severally twofold in respect oi the Abstruseness and the
Obviousness of what, in the shape of the Motive, is suggested, are
sixteen. Of these — the abstruse and the obvious — the “ Abstruse” is
that which is to bo understood only by the force of an intellect matured,
by the study of the sense of Poetry— as is exemplified in the passage
given under § 15. a viz., “ Much benefit have you done, &c.” The
“ Obvious” is that which, through its extreme clearness, is intelligible
to every body— a* it the purport of the following— viz It is the
2

The Minor of Composition .

intoxication of youtli alone that teaches the blandishments of enamour**
ed maidens.” Here, by the word “ teaches,” the sense of “ brings out
into manifestation,” is indicated ; and the emphatic character of the
manifestation — i. e., how perfectly the intoxication does bring out the
blandishments — is apprehended as clearly as if the thing had been
stated expressly, instead of being indicated by the word “ teaches”

Text.

Further subdi- 20. These also are twofold, through the fact that
vision of the six- . ' . . , «

teenfold branch of vhe fruit — viz., the excessiveness suggested — see §

indication accord a pertains to the thing indicated, or pertains

ing to the site of 1 ° 1

what ia suggested, to a quality not inherent in the thing.

Commentary.

a. “ These” — i. e., the sixteen kinds of Indication just mentioned
— under § 19. a. These, having severally become doubled through
the fruit’s pertaining to the thing or to the quality, give thirty-two
kinds. He exemplifies the two kinds in succession : —

" There are the clouds, in which the cranes disport, and with whose
smooth dark loveliness the sky is overspread ; — there are the dewy
winds, and the melodious joyful screams of peacocks, friends of the
clouds. Be all those as they list. I, very firmly stout of heart, am
Ka'ma. I endure all, hard though it be to bear those vernal sights
and sounds with patience, which enhance the joy of lovers when united .
But how will she be now — Videlia’s daughter? Alas — my goddess
— O do thou be patient.”

In this speech of Rama, from the Vira Charitra of Bhavabhuti ,
Rama being indicated by the expression “ I am Rama,” which is
insignificant taken literally, in the shape of a person extremely patient
of affliction, and this indicated Rama being the possessor of the
quality of patience — suggested , under the circumstances, by the em-
phatic and indicating employment of the proper name — which- proper
name otherwise, being simply denotative, would connote nothing , — the
fruit — the exceedipgness of the patience— pertains to him the thing
indicated.

b. Again in this second example viz., “a herd-station on the
Ganges ” — see § 13. a., where the jjaxk is indicated, the fruit, the
exceedingness, pertains to the character consisting af coolness, purity.

The Mirror of Composition ,

&e., and not to the bank — the thing indicated — which — see § 13. b .
— is not regarded as the locus of these qualities.

Text,

21. Thus then are the varieties of Indication held by the intelli-
gent to be forty.

Commentary.

a. That is to sag there are eight where the source of the power is
Notoriety § 18, and thirty-two where the source of the power is a
Motive in the shape of some fruit (§ 20. a.) ; hence the varieties of
Indication — so far as 'we have yet seen — are forty. Moreover —

Text.

Final subdivi- 22. These also are severally twofold accordingly
sion gf fortyfold « , .

Indication accord- as it — the power of Indication — resides in a Word

ingly as itsinstru- or a SENTENCE,
ment is a word or

a sentence. COMMENTARY.

a. “ These” — i. c., these hinds of Indication just mentioned under
§ 21. Among these we have an example of Indication distinguished
by the fact of its residing in a Word in such a case as “ A herd-station
on the Ganges — (see § 13. a) ; and of Indication distinguished by the
fact of its residing in a Sentence — and not in any separate word there +
of— in such a case as “ Much benelit have you done, Ac.” — (see § 15. a.)

b . Thus is Indication of eighty different kinds.

c . Now “ Suggestion” — the third power of a word — see § 10 — is
explained.

Text.

Suggestion— 23. *When Denotation Ac., repose after having
word. P ° WUl ° done their duty , that function, of a word or its sense
&c., by which a further meaning is caused to be thought of, is what
wo call Suggestion (vyanjand ) ,

Commentary.

a . It is a maxim that when a Word, a Cognition or Idea* and an
Action cease after a single exertion , there is, as far as that individual

* For instance, tho act of my Cognitive Faculty by which I have this moment
the idea or perception of Fire is limited to, and ends in, that perception only ;
and the perception I continue to have through the succeeding moments is not
one and the same— is not indivisible but the continuous result of distinct octs of
the Cognitive Faculty, or (to speak more strictly and plainly) is a succession of

The Mirror of Composition.

case is concerned , an annihilation of their agency, When, in accordance
with tliis maxim, the three functions called Denotation (§ 11), Indica-
tion (§ 13) and Drift — or purport of the sentence as a whole — which
may be found treated of in the Kavya Prakasa — are exhausted, after
having caused each its own appropriate thing to be thought of, that
function of a word, or of a sense, or of a radical, or of an afiix, &c.,
through which another meaning is caused to be thought of, — that
function which takes the various names of “ suggesting,” “ hinting,”
“ conveying,” “ acquainting,” and the like, is what we call the power
of Suggestion. * 0114 .

b. In this power of Suggestion, two varieties are comprised— for :

Tjut.

• Suggestion two- 24. Founded on its Denotation, or founded on

fold, as founded V ower 0 f Indication, a word’s power of Suggestion

on Denotation or 1 J *

on Indication. is twofold.

Commentary.

a . He describes that which is founded on Denotation as follows *

Text.

Of Suggestion 25. T Thi\ipower ^Suggestion which is the cause
tatioin^ 0U Den °" why something else is understood from a word which,
though having possibly more meanings than one, has been restricted
to a single meaning by conjunction or the like, is that power of Sug-
gestion which is spoken of— in § 24— as being founded on Denotation,

Commentary.

«. By the expression “ or the like” — in the phrase “ restricted to
a single meaning by Conjunction or the like —is meant Disjunction,
&C. — for, to expand the “ tyc,” it is said by Bhartrihari in his Vdkya-
How the Deiio- padiya — “ Conjunction, and disjunction, companion-
tation of ambigu- B hip, hostility, a motive, the circumstances of the
stdete™ 8 13 10 case, a characteristic, the juxtaposition of another
word, power, congruity, place, time, gender, accent, dfc., are causes of
one’s recollecting a special sense of some word when the sense of the
word is not of itself definite.” Thus— to exemplify the defining power

distinct cognitions. These nice thinkers had observed what Berkeley himself
failed to do, viz. that the ideas which wc arc accustomed to call the same, ore riot
really the same but exactly sismtlur. See Mill’s Logic, Vol. II* B» V. p. 450* P»

The Mirror of Composition.

of each of these causes in their order — in the example 44 Hari witli his
conch-shell and discus,” the word Hari demotes Vishnu alone — and
not a “ lion” or a “ monkey” or any other of the meanings of the
Sanscrit word hari — because of the * conjunction* of the conch-shell
and the discus ; and in the example “ Hari without his conch-shell
and discus,” it denotes him alone too — seeing that the 4 Disjunction '
would he unmeaningly declared in respect of what — e. y., a lion — had
never been conjoined with a characteristic conch-shell or the like . In
the example “Bhi'ma and Arjuna,” the Arjuna is. the son of PrithA —
he, and not the thousand-ar med king of the same name slain by Paras u-
rdma — as told in the Mahdbharata — being the 4 comrade ' of BMma .
In the example 4tf Xarna and Arjuna,” the Karna is the son of the
Sun-grid — -famed for his 4 hostility ’ to Arjuna — and not any one else
of the persons named Karna . In the example 44 1 salute Sthanu,”
the word sthanu means the god S'iva — and not a “post" — as there is
no L motive' for saluting a post. In the example <4 My lord knows
all,” the word 44 lord” means 44 you, Sir ,” — and not the Deity — the
4 circumstances of the easel being understood to be these , that the words
are addressed to a king or some other great man . In the example
44 the angry one on whose banner is the alligator,” the God of Love is
meant — and not the Ocean, which also has an alligator for a heraldic
device , but of which anger is held to be no 4 characteristic l In the
example 44 The God, the foe of Pura,” S'iva is meant — as we gather
from the 4 juxtaposition' of the word 44 God”— -for, otherwise , the term
pur dr i might have stood as well for the 44 foe of the city ” as for the
“foe 9 the demon Pura.” In the example 44 The cuckoo intoxicated
with the Spring” the word madhu , it is obvious , means the 44 Spring”
— the Spring-time being tlie only thing , among those denoted by the
word , that has 4 power' to intoxicate the cuckoo — and not 44 nectar ” or
44 distilled spirits ” which it does not meddle with . In the example
44 May the meeting with your beloved preserve you,” the word
“mukha” means u encountering” or 44 coming face to face ” — because
there is no 4 congruity' between the desired result and 44 a face ” or
any other sense of the word mukha . In the example 44 The moon
shines in the sky,” we are certified , by the 4 place ' that the word
4 chandra’ means the 44 moon" and not 44 gold" or 44 camphor ,” Spc. In the
example 44 The fire at night,” we know , from the { time that the word

The, Mirror of Composition.

The rejection
of Accent from
among the re-
strictors of De-
notation justifi-
ed against objec-
tors.

‘ chitrabhanu* here means a “ fire*’ and not . the “ sun ” In the
example “ The wheel glows/* we know that the word 1 rathanga*
means a “wheel” and not a “ ruddy goose" from its having the
termination of the neater 4 gender.’ As 4 accent* modifies the sense
in the Vedas only, and not in Poetry, no example of its occurrence is
here given.

h . And some, not able to endure this assertion, —
in § 25. a.-^-that Accent operates for the removal of
ambiguities not in poetry , but only in the Veda —
which assertion was made before me by the author of
the Kdvya PraMsa , — say “ Accent also, in the
shape of change of voice and the like, is really, in
Poetry, the cause of the understanding in a particular sense something
that would otherwise be ambiguous : — and again, according to the
showing in the lectures of the holy sage Bharata , 4 It, — viz,, accent
in the shape of the acute, &c., is really the cause of one’s understand-
ing, to be intended, some one particular Flavour — as, for example, the
Erotic — when , in the absence of accent, the Flavour intended might
have been doubtful ’ — hence, in the case of this also — i. e., in the case
of Accent , as well as the other defining agencies exemplified under
§ 25. a. — some exemplification is proper — but, to these objections ,
I reply, this is not right. The accentuations, whether as changes of
voice, &c., or as the three varieties of accent called the Acute, &c.,
cause one to understand one particular sense consisting in that only
which is suggested; and not, assuredly, does accentuation acquaint us
with any distinction in the shape *>f the restricting to a singll? sense
some word with more senses than one — which — see § 25. a . — and not
anything respecting the matter suggested , is the present subject of

discussion.

e. Moreover— if there were to be directed the re-
Accent to be . . .. . . t ,

avoided in the stricting on every occasion, to a single sense, by the

case of ‘‘ double f orce G f ajl appropriate accentuation, even of two

vUicQcirOi

meanings of ambiguous words left undetermined
through the absence of fixation by the circumstances of the case or
the like—- see § 25 a.— then, in such a case, we should not find recog-
nised that Ornament , among those treated of in Ch. 10th — called
Paronomasia ; — but it is not so, — for we do find this ornament

The Mirror of Composition.

recognised by all the authorities , in cases where there would be no
place for it , if the duplicity of meaning were banished by accentuation;
aud therefore has it been said that “ when the exhibition of parono-
masia is the business in hand, then, in the paths of Poetry, accentu-
ation is not esteemed hut is to be carefully avoided — and this is
a maxim of common sense — seeing that the accentuation would defeat
the end in view. But enough of this idly censorious glancing — on
the part of these objectors — see § 25. b . — at the declarations of the
venerable author of the Kdvya JPrakAs'a , to whom — though constrained
to find fault icith him occasionally myself— I am indebted for so much
of the materials of my work , that I may call him justly the bestowcr
of ra$ r livelihood.

d. JHy the “ &c.” in the extract from Bhartrihari given under §
25. a., is meant , in such a case as that of one's saying “ A female
with breasts just so big,” the making one aware by gestures of the
hand, &c ., — the fingers being just so far opened as to mark the size
intended— that the breasts, or the like, resemble the unexpanded
lotus ; and so in other cases.

e . When a word is thus restricted, in respect of itfc Denotation, to
a single meaning, that power which is the cause of one’s thinking of
another sense of the word, is the power termed , in § 25, Suggestion
founded on Denotation. This occurs , for example, in the following
verses of my father — literally , of the feet of my father — the great
minister, the lover of the nymph consisting of the fourteen dialects,
the chief of great poets, the venerable Chandra S'ekhara, minister of
peace and war , — the verses being these— viz.,

“ Whose body is embraced by Durga, overwhelming by his radiance
the god of Love, on whom, as a crest-ornament, has arisen a digit of
the moon, venerable, surrounded everywhere by his snakes, whose eyes
arc made of the chief of stars, who has a solid affection for the most
majestic of mountains — the Himalaya , — having mounted on a cow
— the emblem of the earth , — with his body adorned with ashes, — re-
splendent is this beloved of Umi”

Here, from the u circumstances of the case ” — see § 25. a . — the
minister intending to describe, not the god 8'iva who reduced the god
of Love to ashes by a glance of his eye , and wlio is decorated with
cobra da capellos , but his own king who is lovelier than Cupid , and

The Mirror of Composition.

who is surrounded by his ministers — and so on through the weary string
of puns — the sense of the terms in the expression “ beloved of Urna’*
being restricted, in respect of the Denotation, to that of the queen
named Uma and her husband king Bhanudeva, it follows that the
sense of the “ beloved of the goddess Gauri,” — i . e . the god S'iva — is
understood — to the glorification of king Bhanudeva by the comparison
— only through Suggestion. And so of other cases.

f He next describes that power of Suggestion which is founded on
Indication (§ 24.)

Text.

Suggestion 26. But that Motive for the sake of which the
founded on Indi-
cation. power of Indication is resorted to, let that power

whereby that Motive is caused to be thought of be called Suggestion

founded on Indication.

Commentary.

a. When, in such an expression as “ A herd-station on the Ganges’*
— see § 13. a.— the power of Denotation has desisted — see § 23. a . — -
after causing one to think of such an object as a mass of water which
the word “ Canges f denotes , and the thereto subsequent power of
Indication has desisted after causing one to think of such an object
as the bank, — then that power by which such a thing as the excess of
coolness and purity — the 1 Motive' for employing the particular form
of expression— sec § 13. 6., is caused to be thought of, is the power
called ‘ Suggestion founded on Indication.’

b. Having thiis described — in § 25 and 26 — Suggestion pertaining
to words — see § 23, he describes Suggestion pertaining to the things
signified by the words .

Text.

founded^ on Sti the ^hat ar * ses ^ rom SENSE of words which

Sense. causes one to think of something else through the

speciality of the Speaker, or the Addressed, or the Sentence, or the
Proximity of another, or the Drift, or the Occasion, or the Place, or
Time, or Emphasis, or Gesture, or the like.

The Mirror of Composition,

Commentary.

a. In saying u That arises , 8fc." .the word “ Suggestion” is to he
supplied in construction — the text , without ellipsis , being “ That
( power of) Suggestion arises , Sfc."

b. Among these various specialities , there may be an example
where there is some speciality in respect of the Speaker, the Sentence*
the Occasion, the Place, and the Time — as is the case in my own
lines here following — viz.,

“ The season is the Spring-time — and he of the flowery bow, the
god of Love now rages — : gently How the breezes that bear away
with them the languor of love ; — this pleasure-garden too is beautiful
with its arbours of the cane: — my husband is far away : — tell me —
what is to be done to-day ?”

Here some one hints to her confidante — likely to guess the 1 drift ’ of
this 4 Speaker' — 44 let my unavowed lover be sent speedily to this place.”

c. Where the speciality is in respect of the person addressed — §
27 — we may have such an example as the following , viz.,

u The border of thy breasts has lost the whole of the sandal-wood
with the cooling unguent of which they had been anointed : — the colour
of thy lip has been rubbed out : — thine eyes are quite devoid of colly -
rium : — this thy slender body has every hair erect : — 0 falsely speaking
go-between ! — heedless of the access of pain to me thy friend, thou
wentest hence to bathe in the lake — not, as I had sent thee , to that
wretch.”

Here, by ‘Indication of the contrary’ — see § 15. a . — “ Thou hast
gone near him” is indicated ; and, through the speciality of the mes-
senger ‘ addressed’ — she teing not a messenger simply , but one regarded
as 44 falsely speaking"— it is understood to be suggested — on the ground
of this sense — see § 27 — that “ Thou wentest to dally with that wretch"

d. Whore the speciality is in respect of the Proximity of another
— § 27 — we may have such an example as the following — viz.

“ That crane stands unmoved and undisturbed on the leaf of the
lotus — like a conch-shell placed on a tray of pure emerald.”

Here, from the immobility of the crane its security is inferred , and,
from that, the fact that the place is devoid of people ; and thus i. e. t by
directing attention to the fact , it is said not expressly but suggestively
by some one to her unavowed lover by UEit 910 E (—for else } the remark
f 2

The Mirror of Composition .

on the solitariness of the spot , would not have g iven rise to the same
suggestion ,) — “ This — where the wary crane stands fearing no intrusion
— is the place for an assign ation.” Here the Motive for the remark
— or , in other words , the thing sought to be suggested — is that spe-
ciality — of fitness , namely 9i for an assignation — of a thing antecedently
suggested — this thing antecedently suggested consisting in the fact
that the place is devoid of people : — so that here we have Suggestion
founded on Suggestion.

Emphasis— e • “ ^ is an emotional alteration of the sound in

wliafc * the throat that is called, by the learned, Emphasis

( k&Jcu .)”* The varieties of Emphasis, which is of the just mentioned
description, are to be learnt from the original works on Poetry by
Bharata , Sfc. To take an example where the speciality consists in
this, we may have such a couplet as the following : — viz .

“ In submission to his preceptor, alas, he is prepared to depart to
a far country. In the Spring-time, joyous with its bee-swarms and its
cuckoos, — he wont come back — eh, friend of mine ?”

Here she says “ he wont come back” — but, by the silly appropriate
Emphasis, it is suggested that “ he assuredly will come back.”

f Where the speciality consists in Gesture ( cheshpi ) we may have
such an example as the following — viz.

“ Perceiving that her lover had his mind anxious about the time of
assignation, the quick-witted dame closed the lotus-tlower with which
she was playing — whilst her laughing eye conveyed to it the import.”

Here, by the gesture of closing the lotus, &c., it is suggested by
some woman that “ The twilight — when the lotus-flowers close their
petals — is the time of assignation.”

y. In the same way as in the oases above exemplified the case is
to be understood when there is a Speciality in respect of the Speaker
and the rest, enumerated in § 27, — taken either separately or any way
combined.

Text.

Division of Sug-
gestion according
to the threefold
division of Mean-
ings.

28.f Through the threefold division of Meanings,
the power of Suggestion is held to be, in respect
of* each of the above-mentioned varieties — three-
fold.

# Roer mistakes this .sontonce for a text of the book. P. M.
t 3S9 in Rfler’s edition.

The Mirror of Composition ,

Commentary.

a. By reason that Meanings have a threefold nature, through their
being Expressed or Indicated or Suggested — see § 9, — all the just-
mentioned powers of Suggestion are threefold. Among these — there
is— for instance , the power of Suggestion belonging to an Expressed
meaning — as — in the example under § 27. h. — “The season is the
Spring-time, &c.,” the words of which are all to he understood liter -
ally : — 2ndly there is that belonging to' an Indicated meaning — as
in the example under § 27. c . “ The border of thy breasts has lost
the whole of the sandal-wood, Ac." — where the words indicate the
reverse of what is said , and the Suggestion originates in this indicated
meaning ; — and 3 rdly there is that belonging to a Suggested mean-
ing — as in the example under § 27. d. — “ That crane stands unmoved,
Ac ,” where the Suggestion of its being a suitable place of assignation
arises out of the suggested secludedness of the spot .

b. But Suggestiveness pertaining, (see § 23. a.,) to the radical
part of a word or to an affix will be treated at length in the latter

portion of chap . 4 th.

c. Some one might object that we were told, at § 3., that Poetry
is a Sentence , and further, at § 6., that a Sentence consists of Words ;
but, on the other hand , we are told, at § 2. r., that Poetry consists in
Suggestion , and further, at § 23, that Suggestion may come from the
sense and not from the words — so that we are left in perplexity as to
which does constitute Poetry— the words or the sense. To remove

this perplexity the author declares, as follows : —

Text.

The mutual re-
lation of Words
mid Meanings in
respect to the con-
Btitutingof Poetry.

29. # The meaning conveyed by a word suggests,
and so also does a word applied in another sense
— than that which it then suggests, but might else-
where denote — see the example under § 25. e. When

the one suggests, then the other is its coadjutor.

Commentary.

a . Because a word, when it suggosts, has an eye to another mean-
ing without which it would fail of suggesting ; and so too a meaning,
when it suggests , has an eye to the word — without which the meaning

* 30 in Poor’s odition.

The Mirror of Composition.

would vanish : — hence, when the one suggests, the co-opcration of the
other must needs be admitted.

Text.

Division of a 30. * Through the being distinguished by the

Word according th ree acc ;dents of Denotation, &c. (§ 10.) a Word

to the accident . vo '

of its function. also is held — as the Meaning thereof is — to be of

three kinds — Expressive, Indicative, and Suggestive.

COMMENTARY.

a . When it has the accident of the power of Denotation, the
word is simply Expressive (vichaha) ; — when it has the accident of
Indication, it is Indicative (lakshaka) : when it has the accident of
Suggestion, it is Suggestive (vyanjakd).

h. Moreover — the senses conveyed hy separate words , in virtue of
their exerting one or other of these three functions y being supposed
decided — a difference of opinion presents itself in regard to how words
act in concert. On this the author proceeds to remark .

Text.

Purport, a func- 31.+ Some say that there is function called Por-

tion of the sen- p 0r t (tdtparyya) which function consists in making
to the Naiyayikas. one apprehend the connection among the meanings
of the words ; the sense from the Purport being the * drift/ and the
Sentence, as a whole, being what conveys that drift by the said
function .

Commentary.

€

a. Because of the surcease of the power of Denotation — § 23. a. —
when the meanings of the several words have been conveyed, there is a
function, called Purport, declaratory of the connection among the
MEANINGS OP THE WORDS, ill the shape of THE SENSE OF T1IE SEN-
TENCE ; the sense coming from the Purport being called the Drift, and
the sentence, as a whole, being the conveyer of that drift through that
function (see § 267, b.)

h. So much for the 2nd chapter of the Sahitya Darpana y entitled

the “ Declaration of the nature of a Sentence.”

* 31 in R<Ws edition,
t 32 in ROer’s edition.

The Mirror of Composition . 39

CHAPTER III.

Tiie Declaration of the ‘ Flavours,’ tiie ‘Moods/ Ac.

Now what is this Flavour — rasa — see § 3. b. ? To this it is
replied : —

Text.

Flavour defined. 32. * Love or the like, brought out into manifest-

ncss, not by the direct mention thereof but by an Excitant, an Ensuant
or ail Accessory, and being the permanent mood, or main sentiment in
any composition — see § 203, — attains to the condition of a Flavour
in the man of poetical sensibility.

Commentary.

a . JVhat the “ Excitants, &c.” are, will be mentioned under § 61 —
160 — and 166.

b. And the ‘ Spontaneous’ indications of strong feeling — see § 164
— are not mentioned separately in the text — although some persons
may imagine that they ought to have been — because they really are
Ensuants , — and these are mentioned in the text .

c. When he speaks of the Flavour as something “ brought out into
manifestness,” he means to say , that, Flavour is this something made
manifest in a different character to which it is changed— just as curd
or the like consists of milk or the like presented under a change of
character ; but he does not mean to say that something previously
completed and previously so extant, is, in this case, revealed, as a prevU
ously extant jar is revealed , unchanged , by a lamp. This is stated by
the author of the 1 Lochana / — the “ Eye,” scilicet of criticism — when
he says “ The expression 4 The Flavours are perceived' is employed just
as the expression ‘ He is cooking the boiled rice’ is employed — neither
expression , however convenient, being strictly correct , inasmuch as the
matter operated upon in the one case is not ‘ boiled rice ’ but only be-
comes such through being cooked ; and the matter operated upon in the
other case is not ‘ Flavour ’ but only becomes such through being
perceived

d. And in this text § 32, although merely through our taking the
word, “ Love, &c.” the fact of its being a “ permanent” mood is also
implied there — “ love, Sfcf — see 2o3 — being just what constitute

* 33 in fitter's edition.

The Mirror of Composition .

these permanent moods, or main sentiments in a composition — yet the
word “ permanent” is taken in again, not tautologically, hut in reliance
on the maxim " except io probat regulam with a view to the declar-
ing that these are not necessarily main or permanent conditions where
there are other Flavours. And hence Laughter, Anger, <fcc. are only
Accessories (§ 168,) when there is, as the Flavour or Sentiment of the
composition , the Erotic, the Heroic, or the like as it is said “ Only
when in the position of the Flavour of any given composition does
a ‘ mood’ (bhdva) attain to being a main or permanent one.”

e . The manner of the fruition thereof, i. e. of Flavour , shall now
be told — which will involve a declaration of its nature.

Text.

How Flavour is 33. t This Flavour, arising from the exaltation of
apprehended. J ca ding element , of the three , held to constitute

Nature , that is termed 1 Purity/ indivisible, self- manifested, made up
of joy and thought in their identity , free from the contact of aught
else perceived, akin, as a uterine brother, to the ecstatic contemplator's
perception of God, the life whereof is hyper-physical wonder, is enjoyed,
by those competent, in i inseparable ness of the Flavour from the frui-
tion thereof— like the form of the Deity which is— according to the
Veddnta — itself the jog with which it is recognised by the liberated
soul.

Commentary.

a. As it is said — “ A mind untouched by Foulness and Darkness
— two out of the three that, according to the Sdnkhya Philosophy ,
constitute Nature — see “ Lecture oh the TatQoa-samam No. 40, and
Prof. Wilson's Sdnkhya Kdrikd , p. 52 — is here called Purity
(saftiva ) — so a certain internal character, of this just-mentioned de-
scription, which leads one to a turning away of the face from extrane-
ous tilings cognizable, is what we speak of in the text as 1 Purity.’
Its “ exaltation,” spoken of in the text , is its manifestation when it has
risen above the two other constituents of Nature, viz., Foulness ami
Darkness as above-mentioned . And the cause hereof — i . e., of this
mental character — is the study of such like supermundane matters of
Poetry as may be mentioned here or elsewhere .

* Sco Whately’s Logic— B. ii. Ch. v. § 6.
t 34* in ltoor’s edition.

The Mirror of Composition .

b. By calling it “ indivisible” he means to say that this Flavour
— , though consisting, in some sort , — see § 52 — of a number of elements ,
is one thing only —consisting of the wonder that arises from the dis-
play of the “ Excitants, &c.” that give rise to Emotion — see § 61, and
of the Emotions themselves — such as Love, &e. The cause of this —
i. e. y of its indivisibility we shall tell —further on — see § 60.

c . It is “ self-manifested,” &c., the text informs us— and this it is
in the way that we shall mention at § 60.

d. In the epithet applied to Flavour— viz.— * chinmaya/ the affix
( mayat * — see Fdnini V. 4. 21. — gives the sense of “ consisting of” —
Flavour being made tip of thought.

e . “ Wonder” is a kind of expanding of the mind. Another term
with the same import is “ Surprise.” And the proof of this — that

The opinion that the life of Flavour is i TVonder y — is the dictum of
ia" ^uoib/e^to my great great grandfather, the most venerable in
4 Wonder.* the assenibly of the intelligent, the chief of learned

poets, the illustrious Narayana. Dharmadatta mentions that dictum of
my great great grandfather's, when he says : “ In Flavour, even in

every case, Wonder is felt as its essence. Since Wonder is its essence,
it follows that Flavour, even in every case, is that Sentiment or Fla-
vour, called the ‘Marvellous’ (—see § 237,)— hence the learned
Niiniyana has acknowledged only one Flavour, the Marvellous, and no
other.”

f By “ those competent” he here means men with merits acquired
in a former birth, in respect of whom the statement of the text is true,
since it has been declared! The virtuous apprehend the expanse of
Flavour, as the ecstatic contemplator discerns Ood in beatific vision”

Indifference of g. We are told that “ The gustation of Flavour
SSKfiffil “ ‘to •Atog Of joy in the „«1 from the eontaet pf
tion of Flavour. matters of Poetry” : — now, on this showing, it is
plainly declared that Flavour is nothing distinct from the gustation
thereof;— but still, though admitting this, we find it convenient to
employ such expressions as “ Flavour is tasted,” either admitting, for
convenience, a fictitious distinction between the tasting and the
flavour tasted, or employing the verb reflectively— see the Zaghu
Kaumudi, v. 313. The same thing is stated by another authority, why

The Mirror of Composition.

says, “ Since its essence consists in its being tasted,* Flavour is
nothing other, in respect of its body — if it can be said to have one —
than the body consisting of its manifestation.” And so in similar
places elsewhere such applications of the term Flavour as indicate
someth ing distinct from its perception — see § 51. a. — are to be under-
stood tropically.

A supposed ob- h. <l But tlion,” some one— fancying that he is
objection! ^ *° S^ing utterance to an objection — may say , “ by all
this you assert that Flavour — in which Poetry consists — see § 3. is
not an object of knowledge but a MODE of knowledge ; and since
Suggestion is a mode of knowledge the result of which — see § 2. r.
and 59— is declared to be alone Poetry — it turns out that these two
are one. And yet hear what the author of the Vgaktiviveka says— viz.—
1 What we mean by a Suggester or manifested — vyanjaka — is a cause,
through the knowledge due to itself, oi the knowledge of some other
extant thing,— as a lamp is, in relation to ajar or the like. And if
it be otherwise — i. e., if you do not grant that Suggestion is the mani-
f ester of Flavour already extant, then what difference is there between
this manifested of something not previously extant and a maker ? which
all deny , it to he — Flavour not being a product —see § 52. According
to this showing, as opposed to your view of the identity of the manifes-
tation and the thing manifested \ there is really a distinction between
the Suggested and the Suggester, as between a jar and a lamp, — and
so how can Flavour, which you identify with the act of manifestation
or Suggestion , be the thing Suggested ?” — If, 0 friendly objector , you
say all this, you say rightly. And 1 therefore have they declared that
this, the making of Flavour called Gustation, is a certain operation
quite peculiar and distinct from the ordinary kinds of 1 making* and
« manifesting and therefore does the author of the Vgaktiviveka say
^Tasting, Kelishing, and Wondering, are quite peculiar names.”
And therefore, by myself and others who take it to be established as the
only explanation of the phenomena in question, that there is a function
— viz., * Suggestion * — denied by the Qrdmmarians and by the Nai -
yiyikas — distinct from Denotation, Ac., therefore, I repeat, by myself

* Compare Berkeley's expressions with respect to ideas — “ the existence of an
idea consists in its being perceived — and again with respect to things, — “ their
esse is perevpi.** Principles of Human Knowledge, Chs, 2 and 3.

The Mirror of Composition.

and those who think with me it is stated that the Flavours, &c. consist
of what we choose, for convenience , to regard sometimes as an object
of knowledge , and which we then call the meaning 1 Suggested*
.0 vyangya ).

i. But again — adverting to the assertion of the text that Flavour
is made up of joy — some one may object — “ Then , since the ‘ Pathetic »
(§ 228) and such like Flavours are made up of pain, they cannot be
Flavours at all. ,, To this it is replied as follows.

Text.

Tilings painful 34.* Of the fact that, even in such a Flavour as
pootry'mm.'ccs "f the ‘ Pathetic,’ &c., in reality, pleasure only i 8
pioasuro only. produced — the consciousness of the intelligent is

the only proof.

Commentary.

a. By the “ <fcc,” he means such other Flavours as the ‘ Disgust-
ful,’ the ‘ Terrible,’ <fce. see § 23(5 and 235.

b . Still — though the authority cited in the text ought to suffice — yet,
in order to close the mouths of those that want poetical sensibility,
the opposite side of the argument — see Aphorisms of the Nyaya , 89
a . — is mentioned, and disposed of as follows .

Text.

35. * Moreover, if in these (§ 84) there were pain, then no ono
would turn a look towards them — which , however , people do —

Commentary.

a. For no one, possessed of understanding, engages — knowingly ,
and without some ulterior view — in paining himself; and yet we see
that every one enters wiflh engrossing interest into the 4 Bathetic,* &e.

b. As another illustration of the uniitness of the objection , ho
remarks as follows.

Text.

36. If it were so — see § 35 — then such compositions as the Ramd-
yaga would be causes of pain — instead of giving delight to every man
of taste.

Commentary.

a. For since — according to the supposed objection sec § 33. i , tho
4 Pathetic’ is a cause of pain, we should find cause of pain even in
* 35 <Sc 30 in lloei’s edition.

44 The Mirror of Composition ,

such heart-delighting compositions as the Ramayana, the leading Senti-
ment of which is the * Pathetic/

h. But how then, some one mag ask , can pleasure arise from causes
of pain ? To this he replies as follows.

Text.

37. Grant that mundane sorrow, joy, Ac. be produced from what
things, so far as they belong to the world, happen to be causes of sor-
row, joy, Ac. — yet what harm is there if wo Bay that pleasure is pro-
duced even from all these, when, through their being consigned to
the transcendental world of Poetry, they have attained to being hyper-
physical Excitants ?

Commentary.

a . For, what things indeed, such as the banished Rama’s dwelling
in the forest, are called causes of pain in the world — or in their ac-
tual occurrence,— those very things, when consigned to Poetry and to
dramatic representation, in consequence of their assuming the function
of 4 hyper-physical excitation/ (§ 44. &.,) having left off being denoted
by the term causes, possess the right to be denoted by the term
hyper-physical excitants (vibhava) ; — and from these, only pleasure
is produced — as from bites and scratches and the like in toying. And
hence it is only in the actual world that the rule holds that from
worldly causes of sorrow, joy, Ac., worldly sorrow, joy, Ac. respectively
arise ; whilst in the transcendental world of Poetry, on the other hand,
pleasure alone arises from all the exciting agencies, Ac. — and, accord-
ing to this determination of the state of the base, there is no fault in
the teat under consideration .

Tears no proof b. But if the poetic representation of sufferings

thhlgb^Tpi^oro produces only pleasure, how then are tear-sheddings,
is produced. Ac. produced by the seeing or hearing, in a poem or
in a dramatic performance, the sad adventures of Harischandra in the
Mahbbh&rata and the like ? To this it is replied as follows .

Text.

38. In like manner tear-sheddings, Ac. (§ 37. 6.) are held to come
from the mind’s being melted— not pained.

The Mirror of Composition.

COMMENTARY.

Whypoetrydocs How then does this perception of Flavour from

not delight all a- p oe try not take place in the case of all ? To this
he replies as follows .

Text.

39. The Gustation thereof i. e. 9 of Flavour , does not take place
without the Imagination of Love, Ac. — i. e> without the capacity of
conceiving whatever passion is intended to be depicted .

Commentary.

a. And Imagination, or cultivated intellectual ► Susceptibility (vd-
sand), both now developed and not neutralized by past demerit — liter -
ally “present” and “ancient ” — is the cause of the gustation of Fla-
vour. If the former of these were not necessary , then Vim power of relish
ing poetry would belong even to Brahmans learned in the Vedas, and
to students of the old Logic, Ac. — who , however , do not read poetry ,
and cannot therefore acquire a sensibility in regard to it — this sensi-
bility requiring to be matured by cultivation — see § 19. a. ; and if the
second were not necessary , then it would not happen — as y however , it
does happen — that even some of the most eager students of Poetry
are seen not to have a right perception of Flavour — which is explicable ,
in the case of these commendable stragglers , only on the supposition
that demerit incurred in some anterior state of existence frustrates
their efforts.

b . And it is said by Dharmmadatta — “ Those present at a drama-
tic representation who have Imagination, may relish the Flavour of
the composition represented ; but those devoid of Imagination are, in
the theatre, like the wood-work, the walls, and the stones.”

Sympathy arises
from the specta-
tor's identifying
himself with the
hero.

c. But — from those oauses which excite love, Ac.,
in Rama, Ac., — such as his beloved Sita, &c., how is
it that love, Ac., is excited in the spectator ? To
this it is replied as follows .

Text.

40. The Excitants, Ac, (§61) have an operation called the * making
common’ — through sympathy , by force of which the person com-
petent to appreciate Poetry —ses § 39— makes himself out to be not
a distinct person from him— the hero — whose jumping across the sea

The Mirror of Composition .

— as Hanumdn does in the Ramhyana — &c. are the matters represent-
ed.

Commentary.

a. But some one may ask — objecting to the possibility of ones

imagining himself the possessor of superhuman power — how can a man
imagine himself to possess the vigour to jump across the sea, &o. ?
To this it is replied as follows.

Text.

41. The idea arising in the mind even of mere

Sympathy not m 0 f possessing such valour, &o., as is required in
prevented by the ’ r J .

superiority of the jumping across the sea, &c., is not censuiable as an
tator tU tU ° Sp0C ' impossibility— such idea resulting from the conceit
of community with the hero of the poem.

Commentary.

a. Love, &c., also -as well as heroism - are felt through this com-
munity of the spectator with the hero — hence ho remarks as follows.

Text.

42. Through community or sympathy, in like manner, Love, &c.,
are felt.

Commentary.

a. For if Love, Ac., were recognised by each spectator as being
located in one’s self only, then the spectators would actually experi-
ence shame, tremor, &c., which they do not* or if the feelinys
represented on the stage were recognised by them as located m another

0NL Y e. <j., in the hero regarded as quite distinct from themselves,

then there would be insipidity, or $n absence of all Flavour: so they
are recognised as COMMON to both one's self hid the hero.

b. Moveover not only are the emotions common to both, but the
Excitants, &c., of emotion, in the first place , Flavour eventually
resulting being, logically and analytically if not chronologically and
really, subsequent to the ercitmj agencies -are recognised as being
common to the hero with the spectator rightly recognising ihem-on
which he remarks as follows.

Text.

43. At the time of the gustation thereof i. v., of Flavour, there is
no distribution of the Excitants. Ac., of emotion— such as could pul

* And if they did, they would derive no plcuaurc from the performance. i\ M.

The Mirror of Composition.

if into the head of a spectator to say 44 this is the other’s ONLY i. e. the
hero" s exclusively — that is not the other's — this is MINE — that is not
mine so that of the Excitants Sfc . too, there is felt a community,
and not an exclusiveness to the hero or the spectator's self

COMMENTARY.

a . But still — how have these Excitants, Ac., a character thus ex-
traordinary ? To this it is replied as follows.

Text.

44. In the eyes of those who admit that the functions called Ex-
citation, Ac. are hyper-physical — see § 83, — their extraordinariness is
their beauty not their blame.

j COMMENTARY.

a. By the “ Ac.” he means Accommodation (§ 44. c .) and Acces-
sorincss (§ 44. d.)

h. Here (§ 44.) 1 Excitation/ or alterant action ( vibhavana ) means
the producing the requisite arrangement for the germination* or
springing up of the gustation of some particular kind of emotion
such— e. g. — as Love — see § 01. a.

c. 4 Accommodation of the plastic mind or body to this alterant
agency ( anuhhdvana ) means the perception of such Love, Ac., as is
spoken cf in the preceding paragraph, in the shape of Flavour, &c —
(meaning by the “ Sfc." an 4 incomplete Flavour ’ or a 4 semblance of
Flavour’ — see § 3. c.f) immediately thereafter — i. e. immediately after
the arrangement specified in § 44. h.

d . 4 Accessoriness’ (sanclidrana means the promoting and serving
by concomitance to heighten this Flavour that has become such as just
described in § 44. c.

e . But then — same one may ask — if the Excitants, Ac., in the
order of their enumeration, are — as they seem to have been just de-
scribed to be , respectively , nothing other than Causes, Effects, and
Concurrent causes — how are all the three spoken of— at § 32 — as if
they were all Causes of the apprehending of Flavour ? To this it is
replied as follows , that such is simply the fact

Text.

45. For, though in the ordinary course of life the Excitants, Ac.
(§ Gl) are in the shape of Causes, Effects, and Concurrent causes, yet

* Compare Taylor’s expression— “ the undeveloped initiatives of good things
to como i”— see ‘ Saturday Evening/ p. 0. b

48 The Mirror of Composition .

they are held to be Causes alone in respect of the apprehending of
Flavour.

Commentary.

a. But how then, in the gustation of Flavour, do these three seem
to be one ? To this it is replied as follows ,

Text.

How Flavour 46. Each, as perceived at first separately, is

MB single, though , L L J

spoken of as re- spoken of as a cause ; and then all this commingled —

suiting from a the Excitants and the rest — when relished by the
composition of J

causes. man of taste, becomes Flavour, resembling the com-

posite flavour of sherbet.

Commentary.

a. As, from the commingling of sugar, pepper, <fec., a certain un-
precedented relish is produced in the shape of the flavour of the sherbet ;
so is it here also, from the commingling of the Excitants, (fee. — such
is the meaning of the text § 46.

h . But then some one may ask — if Flavour is produced only from
Excitants, Ensuants, and Accessories commingled, how can it be found
— as you will not deny that it is — where there exists but one of the
three , or two ? To this it is replied as follows .

Text.

What might 47. If there be present, out of the three — viz.,

th^utterance of the Excitants and the others, two or even one, then

poetry is supplied there is no fault, for there is instantaneously a supply-
by the Association , . tL J

of Ideas. ing of the others by the Association of Ideas .

Commentary. #

a . And this supplying — of what is wanting may occur in virtue of
the suggestive character of the matter in hand, or of something else.
For example — take the following verses .

“ A face, long-eyed, fair as the autumnal moon ; arms sloping at the
shoulders ; and a bosom compact, with close high breasts ; sides — as
if polished ; span-measured waist ; loins joined with handsome hips ;
feet with the toes upturned ; and her whole person disposed just accord-
ing to the wish of the Agitator of mind (Kdma)”*

Here, whilst Agnimitra, in love with Malavika, describes only Exci-
tants of the emotion of Love in the shape of the various beauties

* Dr B.’h rendering of this portion was— ‘just like the utter unconstraint of
a blithe dancer’s miner — which is more {Kieticul but not correct. P. M.

The Mirror of Composition .

of Malavika, there is, through the mere fitness of things, a mental
supplying of 4 Accessories’ such as the longing of the lover describing
his mistress , and of Ensuants, — such as the rapturous rolling of the
eyes. And thus in regard to the supplying of others of the three ,
when not all are conveyed in the poet's words , an inference is to be
made by the intelligent reader , for himself — it' being unnecessary to
multiply examples,

b. To those who — not holding the correct view laid down in §
43 — say that the Flavour is located in the one represented — i, e, in
the hero , — he says as follows.

Text.

The locus of the 48. The excitement of Love, &c. in the person
Flavour not the

hero — and why. represented, — recognized by the spectator — would not
become Flavour — lor this Love, Sfc., so far forth as belonging entirely
to him , was limited to the hero himself and was mundane — whereas
Flavour — see § 33 — is hyperphysical , — and it, the Love , Sfc. of the
Hero , is separated by a long interval, — the hero having possibly died a
thousand years ago — whereas the spectator belongs to the time present
— whatever that may be — and Flavour (see § 54 ) — is irrespective of
Time .

Commentary.

a. For, the excitement, or feeling , of Love or the like, in Rama or
the like, produced by the sight of his beloved Sita or the like, was
limited to the single lover , and does not belong to a whole theatrical
audience ; and it pertained to the every-day world ; and it is separated
by a long interval from the witnessing, &c., of the play or the poem
in which the incident is described. lienee, how should IT attain (§ 32)
to the stato of being a Flavour— seeing that Flavour is characterized
by its being devoid of this triad of characters — being not limited to
one — not mundane but hyperphysical — and not of the past but irre-
spective of Time ?

b. He rejects also the notion q/* its being located in the representer
of the hero — i. e. of its being in the actor : — remarking as follows.

Text.

Nor is the locus 49, It is not the player — poor hungry wretch —
Wrionio^pro- that is the taster of the Flavour— exhibiting as he
n

The Mirror of Composition.

Renter of the hero, does the appearance — i. e. performing the part — of
Rdma, or the like, merely as he has been taught, or as he has learned
by practice.

Commentary.

a. Moreover — to meet an obvious objection — he adds.

' Text.

The actor, so 50. By his realizing to himself— if he does so—

for forth as he is the import of the poetry — which he more probably
& man ot i ast©, _

ranks as a spec- repeats with indifference if not with weariness — he
tetor# too ranks as a spectator.

Commentary.

a . That is to say — if, on the other hand, through his realizing the
import of the poetry, he enacts the character of Rama as if he felt it
to he his own, then he — the actor — too is reckoned among the audi-
ence — and whatever we may remark of them , applies so far to him .

Text.

Flavour not an 61. This Flavour is not something that may be
objective entity. ma de tn 0wn — for the perception of it is inseparable
from its very existence.

Commentary.

a . For, ‘ what may be made known’ ( jndpya ,) as a jar for instance
— by the light thrown upon it by a lamp or the like , — that, even
whilst existing, is sometimes not perceived ; but not so this Flavour ,
for, apart from perception, it does not exist — (§ 33. A.).

Text.

Flavour not a 62. Since thte Flavour has its essence, or is not
product. itself except, in necessary donneetion with the aggre-

gate of Excitants, &c , on which it depends , therefore it is not an effect
or product .

Commentary.

a. If Flavour were an effect — or product — like ordinary mundane
things — then it would be one having for its cause — inasmuch as it could
have no other cause—? the knowledge, i. e. the perception, of the Exci-
tants, &c. ; and therefore, at the time of the perception of Flavour,
the Excitants, <fcc., would not be perceived — for we do not see that
there occurs simultaneously the perception of a cause and the percep-
tion of the effect of that cause for — to give an illustration of our

The Mirror of Composition .

meaning — the perception of the toxic n of the sandalwood-unguent, and
the perception of the pleasure produced thereby, cannot take place
simultaneously, however rapidly the one may succeed the other ; and,
on the other hand , the perception of the Excitants, Ac. is not— in the
mundane and ordinary sense of the word — the cause of the perception
of Flavour, since this flavour exists, as we have said, in necessary
connection with the aggregate of the Excitants, Ac. and is therefore
perceived simultaneously with them / — and as these are therefore not
to he spoken of as its cause , it is not to be called their effect ; — such
is the purport of the text.

Text.

Flavour indo- 53 . Nor is it eternal — as it does not reside in the

pendent of Time .

past, present and perception previous to that of the Excitants, Sfc.,
future * and — as remarked at § 51. a., at the time when it is

not perceived, it does not even exist.

Commentary.

a. Verily it does not belong to a thing that is eternal to be incapable
of esisting at a time when it is not perceived.

Text.

54. Nor is it, Flavour , moreover, something that will be— continu-
ing per durably , apart from the perception of it , after having once
come into existence — because it consists in nothing else than its own
manifestation in the shape of positively apparent joy felt then and
there ; — and yet neither is it, moreover, of the present, — for it is of a
nature distinct alike from an i effect* (§ 52) and from 1 what can be
made known* (§ 51)* — to one or other of which heads everything merely
mundane and of time present can be referred — while — like the Deity
— this 4 Flavour * is irrespective of Time . Since its object — or what
furnishes the occasion of its manifestation— is the experiencing of the
Excitants, Ac. (§ 61,) and also since it is apprehended by the intelligent
in the shape of pre-eminent delight, clearly its conveyer is not wished to
be — i. e. cannot be allowed to be — ‘ unconditioned* (nirvikapaka) know-
ledge — the mere knowledge that i this is something ;* and yet in like
manner neither it is perceived as ‘ conditioned* (savikalpaka), because of
the absence of adaptability in it to being described by any combination
of terms — as will be explained in the commentary here following.

* So much is incorporated by Roer with the preceding commentary. P. M.

H 2

The Mirror of Composition .

Commentary.

a % I say that the object apprehended , when 1 Flavour is appre-
hended, is not 4 conditioned ’ knowledge , because whatever cognitions
are received through 4 conditioned 1 * knowledge are adaptable to some
employment of language, — i. e. an account can be given of them in
separate and intelligible terms — but not so is 4 Flavour’ — which , being
every way indivisible, — see § GO — cannot he analyzed and then defined
in terms of the analysis .

Text.

No. 55. And it, 44 Flavour is not something imperceptible, for it
is something manifested (see § 30 ;) and yet its manifestation is not
per se perceptible, because the possibility of its being apprehended
is dependent on sound — i. e. on the words that constitute the poetry .

Commentary.

a. 44 Do tell then” — the reader will be ready to exclaim — 44 what
like is the real nature— the tattwa, or 4 quiddity' — of this strangely
characterised sort of thing such as was never seen or heard of before ?”
To this it is replied.

Text.

Flavour altoge- No. 56. Therefore, i. e. since 4 Flavour * does not
cal. ^ ^ ^ fall under any division in these exhaustive classifica-
tions of mundane knowledge — truly it is to be regarded by the in-
telligent as hyperphysical (alaukiku).

* The terms nirvikalpaka and savikalpaka arc explained in the Tarka San-
graha as follow : — 44 That — viz. Perception — pmtyakslyx —is of two sorts — nirvi-
kalpaka and savikalpaka. That knowledge which does not involve the knowledge
of the species or sort, is nirvikalpaka i. e. * wiihout an alternative’ —a& the know-
ledge that * This is something.* That knowledge which does include specifica-
tion, or the reference of the object to one of the categories — see § 12 — is savikal-
paka—i. e . 4 with an alternative'— for the object might possibly be correctly refer -
rible to a different subdivision of the category — as the knowledge that * This is the
man called Dittha/ 4 This is a brahman/ 4 This is black/ not red , or yellow ” [The
nirvikalpaka and savikalpaka pratyksha of the Hindu philosophers exactly
correspond to Hamilton’s simple Perception and Thought proper. The following
example given by him in illustration of this distinction may, I think, be usefully
quoted here : “ An object is presented, say a book ; this object determines an

impression, and I am even conscious of the impression, but without recognising
to myBelf what the thing is ; in that case, thero is only a perception, and not
properly a thought. Bat suppose I do recognise it for what it is, in other words,
compare it with and reduce it under a certain concept, class, or complement of
attributes, which I call book ; in that caso, there is more than a perception,—
there is a thought.** Lectures, Vol. III. p. 14. P. M.]

The Mirror of Composition.

Commentary.

a. Then again what is the evidence that this ‘ Flavour 1 is an
entity ? To this he replies.

Text.

Proof that there No 57, The evidence of this — i. e. of Flavour's

is such a thing as . J

Flavour ut all. being an entity — is considered by the learned to be

just the Gustation thereof — which exists — see § 33. g . — in inseparable-
ness from the 4 Flavour itself.

Commentary.

a. ‘ Gustation’ means tasting ; — and that is of the kind described
by the author of the Dhwani as follows : — 44 4 Tasting* is the arising of
soul-joy from contact with the meaning of Poetry.”

b. But then some one may object — if 4 Flavour’ is not a product —
as it is denied to be — here implicitly — and explicitly at § 52 — then
how is it characterised, by the great saint Jiharata , as follows— viz.
— 44 The production of Flavour takes place from the union of the
Excitants, the Ensuants, and the Accessories ?” To this it is replied.

Text.

No. 58. By reason of the production of its Gustation — which, in
the sense to be explained in the Commentary , may be said to take
place — the production of this 4 Flavour ' — which — see § 52 — is not
a product, is spoken of tropically.

Commentary.

a. Although the Gustation of 4 Flavour * also is not really a pro-
duct, seeing that it is nothing distinct from the Flavour itself —which
is no product , — yet its being a product is spoken of tropically — for it
is a product, in a secondary sense of the word, in respect of. its occa-
sionalness — seeing that every man does not experience it y nor any
man at all times .

Text.

No. 59. Its not being the “Expressed, &c.” but only the Sug -
gested” — see § 2. v . — I shall declare in the exposition of 4 Sugges-
tion’ in chap . 5th.

Commentary.

u. “ Its” — i. e. Flavour’s. By the “ &c.” is meant its not being
the ‘ Indicated, &c.’ see § 9.

b. But then some one may object — if ‘ Flavour’ consists of * Love
and the rest’ — meaning by “ the rest ” the appropriate concomitants of

The Mirror of Composition .

each emotion — commingled — as declared at § 46 — how are we to
understand its self-manifestation {see § 33) and its indivisibility (§ 33) ?
To this it is replied.

Text.

Flavour, being No. 60. Since 1 Flavour’ exists only from its being
knowledge, is self- _ . _

manifested. identical with the knowledge of the emotions and

concomitants , such as Love, Ac. — hence is established its self-manifes-
tation — knowledge being itself light , — and its indivisibleness.

Commentary.

a. If 1 Love, Ac.’ were something distinct from the body of light,
or knowledge , then only could its self-manifestation not be established ;
but the case is not so, — for its identity therewith is admitted by all
the authorities , as it is declared by the author of the Dhwani — thus —
“ Although, by reason of its being nothing other than the 4 Flavour/
the 4 Gustation’ of Flavour is not a product (§ 52,) still being assumed
to be a product in respect of its occasionalness (§ 58. a .,) it is more-
over treated as divisible into Love and the various poetic emotions Ac.,
these being supposed to subsist in the shape of modifications — as curd
is a modification of milk — of that increate Imagination which is
identical therewith i. e. with increate Flavour — and 4 Flavour /
I repeat , is held to be identical with Knowledge as he elsewhere
declares thus — 44 And on assenting to the identity of Joy, Ac. with
1 QustatiorC and 4 Flavour / having reposed upon our couch of estab-
lished doctrine, mayest thou enjoy the slumber of delight for a thou-
sand years of the gods !” — and as he again declares thus — 44 It, Flavour ,
is undivided from its enjoyer, being made an object of cognition identi-
cal with the Love or other emotion , Ac., of the possessor of Imagina-
tion.”

b. On the shoulders of those who do not admit the fact that
Knowledge is self-manifesting — the rod must be let fall by the Veddn-
tists who more especially cherish the tenet disallowed by these .

c. The 4 indivisibleness’ theroof i. e. of Flavour — is to be inferred
just from its identity with the knowledge of the emotions , fyc . — for
Love and the other emotions , Ac., in the first place being recognised
severally, attain to being 4 Flavour’ only as they appear when having
all become one. This is declared by the author of the Dhwani as
follows — “ The Excitants, the Ensuants, the Involuntary indications
of emotion, and the Accessories, being recognised first dividedly, attain

The Mirror of Composition .

to indivisibility — and again— as he remarks in prose — “ But in
strict reality this Flavour is to be apprehended only as something
indivisible, like the nature of the Deity as set forth in the theological
system of the Vedanta ”

d. Now what are those 4 Excitants,* 4 Ensuants* and 4 Accessories*
(§ 32) ? With reference to this question , he tells us what is an
4 Excitant,* as follows .

Text.

What is meant No. 61. What things in the every-day world
by an * Excitant, awaken in one Love or any other of the emotions >

are, when represented in Poetry and the Drama, called 4 Excitants’
(vibhiva).

Commentary.

a. What things, — e. g. Sita, the beloved of Rama, &c. are, in the
actual world, causes of the excitement of Love or Laughter or any other
emotion in Kama <fec— these »ame, when consigned to Poetry or the
Drama, are called 4 vibhiiva* — the term being derived from the causal
form of the verb bhu * to become ’ preceded by the particle vi implying
4 difference' or 4 alteration — for, by these — which we may call 4 Exci-
tants' or 'Alterants'— the mental or bodily states (bMva), such as
Love or other emotion , of the spectators are altered ( vibhdvyante ), i. e.
are made suitable for the manifestation (§ 32) of the first sprout of
4 Gustation’— see § 44, 6 . — which sprout requires ffor its full develop -
went, the artistic treatment which will be detailed in due order . This
is declared by Bhartrihari in the Vakyapadtya as follows : — u He, the
intelligent reader or spectator , thinks of the tyrant Kansa, and the
like, energising as if they were presented to his senses, when these
personages have become objects of his understanding in the shapes
bestowed upon them by the poet's words.”

b. He next mentions the two varieties thereof — t, e, of the 4 Exci-
tants'

Text.

Division of tho No. 62. The two divisions thereof— L e. of the
| x citants into the Excitants— see § 61 — are those called the substan-
the Enhancer, tial or essential (dlambana) and the enhancer (uddt-
pana ) .

The Mirror of Composition .

Commentary.

a. The meaning of the text is plain. Among these he proceeds to
explain the former of the two varieties . *

* Text.

The Substan. No. 63. The substantial (§ 62) is such a material

fcmls or mdispeiuh an( i indispensable ingredient as the hero, Ac. — for
able ingredients r f

of poetry. thereupon is the arising of Flavour altogether de-

pendent.

Commentary.

a . By the “ Ac.” is meant the heroine, the rival of the hero , Ac.

b . The proper Excitant of each particular Flavour will be men-
tioned in the exposition of the nature of the latter.

c. Among these Excitants , thcn } there is the Hero — whose generic
description follows .

Text.

Definition of the No. 64. Liberal, learned, of good family, graceful,
Dero * with the ardour of youth and beauty, clever, a general

favourite, and possessed of spirit, wit, and virtue, — such is the leading
character.

Commentary.

a . c Clever’ — i. c. swift in act. — c Virtue’*— i. e. good conduct.

1. The leading character possessed of qualities such as these is
the Hero (nay aha).

c. He no w mentions the divisions thereof — i. c. of the genus Hero .

Text.

Fourfold divi- No. 65. He-—', e. the Hero — is first declared

Bion of the genus . 4 #

Hero. 7 ^ to be of four kinds — viz. (1) * high-spirited, but torn-

perat* andlurm’ (dhiroddtta) ; (2) 1 firm and haughty’ (dMroddhata) ;

(3) ‘ gay and thoughtless, yet firm (dlnralalita) ; and (4) ‘ firm and

mild’ (dhirapras'dnta).*

Commentary.

a. All this is plain.

b. Among these, the ‘ high-spirited, but temperate and firm’ hero
is of the following description.

* Firmness, though belonging to every kind of hero, is mentioned in the de-
scription because its presence or absonce occasions a subdivision of the heroines—

( see § 102),

The Mirror of Composition ,

Text.

The hero high- Jfo. 6^0 Not given to boasting, placable, very
perate and firm, profound, with great self-command, resolute, whose
self-esteem is concealed, faithful to his engagements— such %s the hero
who is called 4 high-spirited, but temperate and firm (§ 65.)

Commentary

a. * Not given to boasting’— i. e. not a practiscr of self-praise.
4 With great self-command* — i. e. who is not of a nature to be over-
powered by joy or sorrow, &c. 4 Whose self-esteem is concealed* — i. e.
whose j proper pride is covered by decorum. c Faithful to his engage-
ments*—!. e. who carries out what he has undertaken.

b. Such is the first class of heroes — heroes such as Rdma, Yu-
dhishthira, and the like.

c. Now the 1 firm'and haughty* hero is of the following descrip-
tion.

Text.

The hero firm No. 67. Given to deceiving, hot, unsteady, hav-
and haughty. j n g much egotism and arrogance, fond of .praising

himself — such is the hero who by the learned is called the 4 firm and
haughty.*

COMMENTARY.

a. Such is the second class of heroes— heroes such as Bhimasena
and the like.

b. Now the 1 gay and thoughtless, yet firm* hero is described .

Text.

and^t her ° No. 68. Free from care, ever gentle, devoted to

yet firm.° ughtlesa the arts — let this be the hero 4 gay and thoughtless,
yet firm/

COMMENTARY,

a. 44 Arts”— ir e. pantomimic action,

b . Such is the third class of heroes— heroes such as the king of
Vatsa in the play called the Ratnavali.*

e. Now the 4 firm and mild* herq is described .

# Translated in Wilson’s “ Specimens of the Theatre of the Hindus.”

The Mirror of, Composition
Text.

The hero firm No. 69. Possessingjjgely the generic good qua-
and mild. lities of a hero — see § 64 — a Brahman or the like-

let this be the hero 1 firm and mild .’

COMMENTABY.

a. Such is the fourth class of heroes— heroes such as Mddhava in
the play ef ‘ Mdlatf and Mfidhava,’ &c. #

h. And he next states the subdivisions of these four classes of
heroes— § 65 — according to their character as lovebs.

Text.

Subdivision of No. 70. But heroes are constituted of sixteen

the four classes of „ .... „ ...

heroes into six- kinds, by these four divisions — see § 65 — which may

teen kinds. have severally the character of (1) ‘ impartial,’ (2)

‘ saucy’ (3) ‘ faithful,’ and (4) 1 sly,’ in matters ef love.

Commentary.

a. That is to say through the fact that these — viz. the ‘ high-
♦ spirited, hut temperate and firm,’ &c., may be severally ‘ impartial,’

4 saucy,' * faithful,’ or * sly,’ in the character of a lover — 69. b., — a
hero may be of sixteen descriptions.

Text.

The hero whose No. 71. But among these various kinds of heroes
fondness is impar- #

tially distributed, mentioned in § 70, that one is called the 4 impartial’
in matters of love who is equally attached to several women.

- COMMENTABY.

a. That is to say the 4 impartial’ hero is he whose affection towards
two, tfcye, four, or more women, fe equal as is the case with the
hero in the following example.

“ * The daughter of the king of Kuntala stands awaiting you, having
bathed ; the turn is the sister of the king of Anga ; but the night
has been won by Kamald with the dice ; and her Majesty, the chief
queen, too, is to be conciliated to-night’ — The king, having been in-
formed respecting the fair ones of the harem, in the foregoing terns, by
me, the chief eunuch, who had ascertained these matters, stood for two
or three hours of twenty-four minutes each, with his mind perplexed
by indecision.”

* See Wilson’s “ Theatre of the Hindus.”

The Mirror of Composition.

Text.

The hero who No. 73J| Though culpable, yet undismayed ; when
loves. reproached, yet not ashamed ; lying barefacedly even

when his offence was seen ; — such is the one called — as regards his
amatory conduct — see § 69. b. — the i saucy’ hero.

Commentary.

a . Mine are the following verses illustrative of this character .

“ Perceiving her countenance crimson with passion, I went near
intending to kiss her. Then she spurned me with her foot ; but I
having nimbly caught hold of it whilst I burst out laughing,— 0 my
friend, the anger of the fair- browed one, shedding tears, from her ‘then
being unable to do anything, prolongs, whenever thought of, the
amuseipent of my mind.”

Thehuro whois TEXT,

constant to one

loved one. No. 73. The * faithful 1 is he who is devoted to one.

Commentary.

a. That is to say the ‘ faithful’ hero is he who is attached to only
one heroine : — as is the case with the hero whose wife speaks of him
in the following verses.

* “ My garments, 0 friend, are not beautiful, the ornaments of my

neck are not resplendent, my gait is not coquettishly curvilinear, my
laugh is not loud, nor have I any of the hoydenish blandishment called
pride ; — yefc other people say ‘ Her beloved, though beautiful, never
throws a look on any else therefore do I hold that, by thus much,
all others are ill-off, compared with me"

% Text.

b The^herOftWh 0 No. 74. The ‘sly* is he who, being attached to
tioQ only one, acts, covertly, with unkindness towards

another, whilst showing affection outwardly.

Commentary.

a. That is to say— he, again, who, being attached to only one
heroine, whilst exhibiting ostensibly an affection for two heroines, acts,
underhand, unkindly towards the other heroine, is the ‘sly’ hero ; as
is the hero of the following verses ,

“ O sly one ! whore then shall I tell this, that, even whilst embrac-
ing, thou didst hastily relax the k^ of thy arms on hearing the tinkle
of the zone-gems of this other wife of thine approaching ? I need
1 2

The Mirror of Composition.

not tell it to he n—for — my fair friend, giddy from the poison of thy
many buttered and honeyed speeches, heeds me not at all.”

Text,

Subdivision of No. 75. And the aforesaid divisions of heroes,

« middlin g , * and through their being all threefold in respect of their
* lowest.' being of the* best,’ the * middling’ or the ‘lowest*

description, me further subdivided into forty-eight.

Commentary.

a. “ All” — i. e. the aforesaid sixteen divisions — see § 70.

b. Now he speaks of the assistants of these
hero** 8 ° * 16 heroes, since this topic is connected with the fore-
going, so that this is its proper place.

Text.

The comrade of No, 76. But let that one be called his ‘ comrade*
the hero. who, somewhat deficient in the qualifications of him

— i. e. of the hero ,— is his assistant in some wide-extending collateral

Commentary.

a. That is to say— he is called ‘ comrade’ (pithamardda), who,
coming somewhat short of the just mentioned generic qualities of the
hero — see § 64,— -is the assistant of him— i. e. of the hero— through-
out the extensive transactions collaterally connected with the main
business that the latter is engaged in as were Sugrfva, the monkeg
king of Eishkindhgd, Ac., comrades of R&machandra, Ac.

b. Now the assistants of the hero — not in extensive and diversified

transactions — see § 76. a. — but in affairs of Jbve, are to be described.

Text.

The hero’s as- No. 77. Let the assistants in affairs of lovlPbe
^matter. ^ , jj Utn jj] e friend’ (vita), thl ‘ dependant’ (chef a),
the ‘buffoon* (vidushaka), &c.,—and let these be faithful, skilful in
jests, removers of the pride of angry dames, pure.

Commentary.

a. By the “ Ac.” are meant makers of garlands, washermen, purvey-
ors of the betel-nut, perfumers, Ac.

5. Among these described g^j^ieallg in § 77 —he proceeds to da"
''scribe specifically the ‘ humble friend.’

The Mirror of Composition .

Text.

Tho * humble No. 78. But the * humble friend’ is one whose

friend/ possessions fall short of what would furnish the

means of enjoyment : — he is subtle, acquainted with some portion of
the arts, ingenious in dress and address, eloquent, pleasing, much
esteemed in company.

Commentary,

a . What a 4 dependant/ or servant — see § 77 — is, is perfectly well
known— and therefore any account of him need not he given .

Text, •

The ‘buffoon.* No. 79. Let the ‘buffoon’ be one with a whim-

sical name such as “ Flower-spring,” a causer of laughter by his actions,
his person, and his speeches, &c., delighting in squabbles, — acquainted
with his own business.

Commentary.

a. 44 His own business” — i. e. eating, &c.

b. He next mentions the assistants of the hero in taking thought
about affairs of state .

0. Text.

The assistants No. 80. Let the 4 minister’ be the assistant of
in affairs of state. the hero in tho taking thought about affairs of state .

Commentary.

«. u Affairs of state” — l. e.— politics, diplomacy,# Ac.*

h. But as for what is set down by some one, as a definition, when
the topic is the describiog of 4 assistants’ — viz., 41 The minister, or the
ling himself, or both of them, are the agents in taking thought about
affiirs of state — this I say ought to have been reserved for a defini-
tion in some work at Politics where the topic was expressly the
definition of a king’s means of taking thought about his state affairs,
but not when the matter in question was the description of 4 assistants*
—meaning thereby persons so named and considered only in so far as they
do for the hero what he is thereby released from the necessity of doing
for himself unless he chooses . And the definition censured is chargeable

* See tho commentary on verse 89Mfe>f the 2d Canto of Magha’s poem the
S'is'updla-vadha — rRtfer erroneously llRorporates this into the preceding text.

P. M.] •

The Mirror of Composition .

with the irrelevancy animadverted upon— to* if it were only said " The
minister is the assistant of the heroin his — i.e. the herd taking
thought about state affairs,” it would be inferred from the sense
of the sentence , that the hero is one of the agents in taking thought
about state affairs . — And as for what is said by some one , in reference to
the same topic of i assistants' — viz. “ The thoughtless king — § 68— has
his kingly functions subordinated to his ministers ; the others (§ 66, 67,
and 69) have theirs in the charge of their ministers and themselves
jointly;' 1 — this also is a point the mention of which is mistimed,
because, by the mere mention of his characteristic thoughtlessness , it
was settled that the “ fhoughtless hero” is one the taking thought
about whose state affairs is entirely in the charge of his minister.
And, in the taking thought about state affairs, his minister is not his
assistant — and the present topic , be it remembered— § 80 — is tfsdt of
tl assistants" — but is himself the sole manager,— for he, the thoughtless
hero , takes no thought about affairs of state and cannot therefore have
an assistant in doing it.

The assistants Cm Now the assistants belonging to the inner apart*

belonging to the

inner apartments* ments are described ,

Text.

No. 81. In like manner, in the harem,* the following are assistants
— ■ viz . — dwarfs, eunuchs, mountaineers retained as guards , barbarians,
cow-herds, left-hand brothers-in-law, hump-backs, Ac. Cossessed of
pride, folly, and vanity, one of low family, raised, by the connection , to
power, the brother of an unmarried concubine and, in so far } brother-in.
law of a king, is called a left-hand brother-in-Jaw.

COMMENTABY.

a. By the “ Ac.” are meant mutes and others.

b. Among these enumerated in § 81, the e^iuchs, dwarfs, moun-
taineers, hump-backs, Ac. are to be found spoken of in such passages
as the following one which occurs in the play called Batndvaluf

“The eunuchs —alarmed at the approach of the monkey of the
stable which had broken its chain fled, having abandoned shame
because of their not being reckoned among men j the dwarf, in terror,

* RfSer wrongly reads this clanse in tin preceding commentary, P. M.

t Translated by Professor Wilson m his Specimens of tho Theatre of the
Hindus.

ensconces himself within the loose and wide trowsers of the chamber-
lain $ the mountaineers, the guardians of tho bounds, acted in a style
accordant with their name derived from kri ‘ to do ’ — i. e. they did
valiantly, not running away from the monkey* — ; while the hump-
backs fearing that they may be seen by the monkey , cowering down,
slinfe; quietly off.”

c . The “ left-hand brother-in-law” such as the cruel coxcomb Sam -
sthdnaka in such plays as the Mrichchhakatift or the “ Toy cart” is
well known. The others too of the assistants not here exemplified in
quotations may be recognised as they present themselves.

d, Now the assistants in punishing, or in the administration of
criminal justice — are to be described.

Text.

The assistants No. 82. In regard to punishments, the assistants
m matters of po- ° . 1

Hco. °f the king are his friends, the princes his sons ,

foresters employed as police, lords lieutenant, soldiers, &c.

Commentary.

a , “ Punishment” means the chastisement of evil-doers ; — all this
is plain. — Now of the assistants in religious duties.
m . Text.

The assistants^ No. 83, In his religious duties let these i. e. his
m things sacred, assistants be chaplains and domestic priests, and so
too asceticsjknowers of Brahma .

0 Commentary.

a, “ Knowers of Brahma”— \. e. knowers of the Veda, or knowers
of the divine soul.

b. Amongst these various classes of assistants there is not an
equality in point of rank— for—

* Text.

Respective rank No. 84. The highest in rank , among the various
of the olasses of , A . , /fl * N e

assistants. classes of assistants^ are ( comrades (§ 7b J &c.

* Such is one explanation of the pun. Professor Wilson suggests another—

“ Kirdta, a mountaineer, being derived from the roots kri to scatter and ata, to
go, that is, they scattered or ran avrtiy.” This is more in keeping with the
conduct of the others— but the humour would perhaps be heightened by its lying ‘
on the ironical tribute to the valour of the guards who alone were not afraid— of

monkey. [But the etymology t vpon which this explanation is founded is
not admitted by the Grammarians, P, M.]

t Specimens of the Theatre of the Hindus.

64r The Minor of Composition.

Commentary.

0 . By the “ Ac." are meant ministers (§ 80), priests (§ 83), Ao.

Text.

No. 85. In the middle rank among assistants are the humble friend
(§ 78) and the buffoon (§ 79) : — in like manner the left-hand brother-
in-law (§ 81 h.) domestics, Ac., are called the lowest in rank.

Commentary.

0 . By the “ Ac.” are meant purveyors of betel-nut, perfumers, Ac.,
(§77.0.)

b. Now, since this is the appropriate place for it, he gives, in re-
spect of messengers, a definition which includes their division.

Text.

Messengers de- No. 86. A messenger— some one sent on some
fined and divided, affair— is of three kinds— (L) the discreet, (2) the
cautious, and (8) the mere conveyer of a message ; and female mes-
sengers also are of the like descriptions.

Commentary.

0 . In this passage — § 86 — the definition — apart from the division
which it involves — see § 85. 5.— is, or consists, of the words “A mes-
senger — some one sent on some affair.”

Text.

No. 87. But the one called the * discreet’ messenger-f§ 86 — is he
who, having formed his judgment as to the cnind of both, speaks
according to his own discretion, and executes his commiBsion'well and
neatly. •

Commentary.

a. “ Of both" — i. e. the one by whom he was sent, and the one to
whom he was sent.

Text.

No. 88. The * cautious’ ' messenger — § 86— is one of measured
speech, who executes his commission and no more. The mere ' con-
veyer of a message’ (§ 86) is he who conveys, without perhaps under-
standing, the message as it was spoken to him.

Commentary.

0. Now the amiable qualities of a hero are to be described.

The Mirror of Composition * €5

Text.

Tho eight ami- No. 89. Brilliancy, vivacity, sweetness of tem -
able qualities of a * J ^

hero. depth of character , steadfastness* keen sense

of honour, gallantry, and magnanimity, — such are the eight manly
qualities that originate in the element * of goodness.

Commentary,

a . Among these amiable qualities , the first is defined as

follows .

Text.

Brilliancy in No. 90. They call that quality — S 89 — ‘bril-
the character of , , r T7 , x ;

a hero— what. liancy (s obtia) , Irom which — as being the constitu-

ents of it — there come herosim, dexterity, veracity, great perseverance,
complaisance, tenderness towards inferiors, and the holding one’s own
with the great.

Commentary.

Complaisance, a. Among these — there is 4 eomplaisanco,’ as ex-
emplified in the following passage .

“Every one of his subjects thought to himself 1 1 myself am es-
teemed by this lord of the earth.’ Disrespect was shown by him in no
quarter, as none is shown by the ocean to a hundred streams — every
one of which alilce it receives into its bosom. 9 '

b . And so examples might be given , were it necessary , in regard to
the others of th o list in § 90.

c . Now ‘vivacity’ — § 89 — is described.

• Text.

Vivacity. No. 91. In ‘ vivacity’ there is a steady glance, a

striking gait, and laughing voice.

Commentary.

o. Of this we may have an example such as the following.

“ His glance values at a straw the strength of the creatures of the
three worlds ; — his firm and haughty tread appears to bend the earth.
What! Is this the spirit of Heroism incarnate even in a mere youth,
yet having such weight as a mountain might have, — or is it Pride per-
sonified?”

# See Lecture on the S4nkhya— § 50.

The Mirror of Composition.

Text.

Placidity. No. 92. The not being discomposed even amid

agitations, is what is called * sweetness’ of temper — § 89.

Commentary.

a. An example may be inferred by the reader for himself.

Text.

Equanimity. No. 93. The not being altered by fear, grief, anger,
joy, &c., is what we mean by 1 depth’ of character — § 89.

Commentary.

a. Of this we may have such an example as the following testimony
to the equanimity of the hero Edma.

u Not the slightest discomposure in his aspect was observed by me —
either when he was summoned to his inauguration or when he was
banished to the forest.”

Text.

Steadfastness. No. 94. The not departing from one’s intent,
even where the obstructions are great, is what is meant — see § 89— by
* steadfastness.’

COMMENTARY.

a. As -

“ Even at the moment when he heard the song of the Sirens, S'iva
continued intent upon his meditations ; — for, of those who are masters
of their own souls, no obstructions whatever have force enough to
divert the attention.”

Text.

Sensitiveness, No. 95. The not enduring, even at the expense of
M8^nammity and life* the recalcitration against it, — of any imputa-
tion or disrespect, &c., cast upon one by another, is what is called a
‘ keen sense of honour’— § 89. — ‘ Gallantry’ (§ 89) implies elegance in
language and dress, and likewise in amatory demeanour. i Magnanimity'
(§ 89) implies liberality, affability of address, and equality of behaviour
towards friend and foe.

Commentary.

a. Of these also, examples may be inferred by the reader for him-
self

The Mirror of Composition.

Text.

Tho Heroine de-
fined, and divided
into * one’s own,’
* another’s,* and
‘ anybody's.*

is possible.

No. 96. But now, the Heroine is of three kinds
(1) one’s own, (2) another’s wife or daughter , or
(3) a common woman. She is a woman possessed
of the generic qualities of the hero so far as this

Commentary.

a . The heroine again is possessed of the generic qualities of the
hero, liberality and the like— § 64 — , so far as these are compatible —
u viutatis mutandis" —considering the difference of sex . And she is of
three sorts —inasmuch as she may be one’s own wife, or a female be-
longing to another, or a common woman, i . e. a courtesan ,

b. Among these three kinds of heroines — § 96 — , * one’s own’ wife
is the one defined as follows.

Text.

No. 97. ‘ One’s own’ — § 96 — is she who is possessed of modesty,

sincerity, &e., who is intent on the affairs of the house, and faithful
to her husband.

Commentary.

a. As —

“ In the house of the fortunate are wives whose best ornament is
modesty, who never long for those who are husbands of other wo men y
who know not to behave improperly.

Text.

Tho Heroine — No. $8. She too — L e. 1 one's own' (see S 97) is

ones own’ — sub-
divided, named of three sorts, (1) the youthful, (2) the ado-

lescent, and (3) the mature.

Commentary.

o. Among these —

Text.

The Youthful No. 99. She is called the 1 youthful*— or ‘ artless *
heroine, (§ 98)— who, on the arrival of the period of youth,—

being altered by love then first felt , shrinks from caresses, is gentle
amid her indignation, and extremely bashful.
k2

The Mirror of Composition .

COMMENTAHY.

Youth fulness a ‘ Among these various characteristics we may

exemplified. exemplify each severally — and first then of the * youth
fuV damsel in respect of her being * at the first arrival of the period
of youth* — as in the following verses of my father.

“ The loins now take to themselves the bulkiness which previously
teas the characteristic of the waist ; the belly takes possession of the
depression which previously was the characteristic of the breasts ; the
line of hair on the body, characteristic of the period , runs after the
straightness of the glances which then fall into a sidelong habit . See-
ing Cupid newly inaugurated in the empire of her mind, the members
of the fair-browed one, for the moment, as it were, mutually plunder
one another, as people are wont to do at the commencement of a new
reign before the king can ascertain what properly belongs to each
The first sen- Now of the ‘ youthful ’ damsel in respect of

sations of love. \ er l e i n g < altered by love then first taking posses-
sion of her mind ’ — as in the following verses which occu/r in my Pra-
bhavati-parinaya or “ Marriage of Prabhdvati”

u Lazily and languidly she sets her footsteps on the ground ; she
never goes out of the inner apartments ; she no longer laughs uncon-
strainedly, but practises every moment some bashful restraint or other.
Little she speaks, and that little always somewhat touched, or tinged ,
by a certain sort of deep covert significance ; and she looks up with a
frown at her female friend who entertains her with a discourse about
her sweetheart.* *

Maiden Coyness Now °f tle ' youthful ’ damsel in respect of

exemplified. Ji €r l e [ n g one ‘ \fcho shrinks from caresses* — as —

“ When looked at, she casts down her eyes ; she speaks not when
spoken to ; she stands turning away from the couch ; when clasped
perforce, she trembles ; when her female friends who have conducted
her to the bridegroom's house are about to retire, she too wishes to
depart from the dwelling. By this very coyness my beloved bride lias
become now more than ever dear to me.”

Gentleness. d. Now of the * youthful * damsel in respect of her

being 6 gentle amid her indignation*— as —

“ the occasion of her husband’s first offence, she does not know—
Ul the absence of a female friend’s advioe— -though every limb is tvciu*

The Mirror of Composition .

bling with agitation — how to convey a sarcasm. With her rolling
lotus eyes the girl just merely weeps — with the pure tears dropping
from the lower part of her pure cheek, while her ringlets dangle shaking
among thorn.”

BashfulnoBs. e. Then the 1 youthful ’ damsel , in respect of her

being ‘extremely bashful' — may be exemplified — as in the verses
already given under §99. b. viz., “ Lazily and languidly she sets,”
&c.

f Here — i. e. in the enumeration of the characteristics of the
1 youthfuV heroine — § 99, — the separate mention of the ‘ shrinking
from caresses,’ which characteristic is included also under the head of
‘extreme bashfulness’ — so that the definition might seem chargeable
with tautology , — is made because this is a remarkable species of the
forms which bashful ness assumes.

g. Now the * adolescent* heroine— literally the one * middlemost 9
between the i artless y young wife or maiden and the dame mature and
‘ bold' — § 98 — is described .

Text.

Tho Adolescent No. 100. By the ‘ adolescent’ is meant one won-
Ijoroine. derful in caressings ; who has become more impas-

sioned while waxing in youth ; somewhat bold in speech, and with a
inidding amount of modesty.

CoMMENTABY,

a. Among these 1 various characteristics we may exemplify each
severally , — and first then of the i adolescent * dame in respect of her
being i wonderful in caressings’ — as —

“ Towards her lover, by the fawn-eyed one, when her fondness was
excited, there was somehow shown such ingenuity in caresses, that
several times the hundreds of pigeons belonging to the house set them-
selves as scholars to imitate her cooings.”

b. The * adolescent ’ dame in respect of her being one ‘ become
more impassioned,’ is as exhibited in this same example just given
-§ 100. a.

c. Mow the ‘ adolescent dame 4 that has waxed in youth’ — is as
described in these verses of mine. —

The Mirror of Composition .

“ Her two eyes, in vivacity of movement , shame the wagtail ; her two
hands rival the lake-born lotus ; her breasts attain a height that
causes a doubt whether they be not the gracefully swelling temples of
the elephant ; her brilliancy is like that of gold or of the Michelia
Champaka ; her voice rivals nectar ; the flash of her side glance is like
a wreath of expanded nymphaese cierulese.”

d. And so in respect of the others also — of the characteristics
enumerated in § 100 — exemplifications might be given were it needful .

e . Now the dame 4 mature’ —

Text.

The Mature No. 101. Infatuated with love ; of robust and no
heroine. longer tender youth ; learned in all kinds of caresses ;

lofty of demeanour ; with no great amount of modesty, and ruling her
lover.

Commentary.

a. Now the 4 mature dame in respect of her being 4 infatuated with
love’ — as —

44 Bravo!— or, literally , fortunate art thou, who, when meeting with
thy beloved, utterest, in the midst of caresses, hundreds of confiding
and endearing phrases : — hut — as for me — my friend, — when my lover
puts his hand to the knot that binds my robe,*— i’ll swear if I recollect
anything whatever.”

b. Now the 4 mature dame , in respect of her being 4 of robust and
no longer of tenderly budding but of full-blown youth’ — as —

44 Her bosom hath very lofty breasts ; her eyes are very long ; curved
arc her eye-brows, and still more curved or indirect than these is her
speech ; her waist is very slender ; not a little massive are her hips ; and
somewhat slow is the gait of this one whose youth is wondrous in its
full-blown gorgeousness

c. Now the 4 mature 1 dame, in respect of her being 4 learned in all
kinds of caresses’ — as —

44 This sheet — in one place marked with the juice of the chewed
betel, stained in another place with the marks of the unguent made of
fragrant wood, in another place giving out the lime which is chewed
along with the betel , and in another place trampled by a foot red-
dened with lac-dye, — with its crumplings, its rents, and its disorder,

The Mirror of Composition. 71

together with the withered flowers fallen from her hair, tells of the
woman’s having been dallying in every fasliion.”

d. Now the ‘ mature' dame , in respect of her being 4 lofty of de-
meanour* — as —

“ By sweet discourse — yet mingled with frowns ; — by admonitory
shakings of the finger ; and by languidly moving bodily gestures,
whose kindred, as being closely related thereto — in the order of cause
and effect — are great passions excited in the beholder of her blandish-
ments , many a time and oft does she, with her great staring side-
glances, assist the possessor of the five arrows — the god of love —
in the subjugation of the three worlds.”

c. The i mature' dame , in respect of her being one * with very
little modesty,’ is as exemplified in the verses under § 101. a., “ Bravo !
thou that utterest,” &c.

f Now the ‘ mature' dame , in respect of her being one 4 ruling her
lover’ — as —

“ ‘ Lord of mine, curl my ringlets ; — my dear, give my forehead its
sectarial mark again j — my soul’s lord, do unite again my necklace
which is broken on the border of my bosom — thus speaking, at the
time of desisting from caresses, she, whose face is like the full moon,
quivering when touched by him, sunk again in the ecstasy of love.”

g. He now mentions other divisions of the heroines * adolescent*
and ‘ mature.’

Text.

Subdivision of No. 102. These two are (l) possessed of self-

hcroincs accord- command, or (2) not possessed of self-command, or
ing as they can or •

cannot keep their (3) partly possessing and partly not possessing self-
tomper. command ; — hence of six sorts.

Commentary.

a. “ These two” — i. e. the 4 adolescent’ (§ 100) and the ‘mature’ (101).

b. Among these are those described as follo ws.

Text.

No. 103. When moved by anger, the ‘ adolescent’ heroine , if posses-
sed of self-command’ (§ 102,) will burn her lover with derisive sarcasms ;
if * partly possessing and partly not possessing self-command,’ she will
burn him with her tears ; and if * not possessed of self-command,’ she
will assail him with harsh, speeches.

The Mirror of Composition .

COMMENTARY.

a. Among these three varieties of angry dames — we may have the
4 adolescent’ who is * possessed of self-command’ — as —

“ In saying 4 Thou art my beloved’ thou sayest truly, — since, thou
hast come to my bower dressed in the gown belonging to thy sweet-
heart ; — for, by being beheld by the loved one, the beauty of a lover’s
ornaments attains its end — and thou hast come dressed, forgetfully, in
the garments of my rival”

b. Now the 4 adolescent’ who partly 4 possesses and partly does not
possess self-command’ — as —

44 4 My girl !' — 4 My lord ?’ — 4 Lay aside thine anger, indignant one/
— * What has my anger done ?’ — 4 It has vexed me.’ — * Your honour
never offends me, — all the offences are on my side.’ * Then why dost
thou weep with sobbing voice ?’ — 4 Before whom am f weeping ?*
4 Why — is it not before me ?’ — 4 What am I to thee ?’ 4 My cherished
one.’ — 4 1 am not, and therefore do I weep.’

e. Now this same one — the 4 adolescent ’ — when 4 not possessed of
self-command’ — as —

44 0 wretch ! That loved one, with hundreds of desires, stands alone
in thy mind — though attractive only through her artificial blandish-
ments ; — and there is no room for me, — therefore enough of the
farce of thy falling at my feet when thou lovest not me with thy
heart”

Text.

No. 104. The 4 mature’ dame, when indignant , if she be 4 possessed
of self-command,’ then, concealing^thc appearance of anger, takes no
concern about fondnesses, whilst ostensibly showing all respect to-
wards him.

Commentary.

a . 4 Towards him’ — i. e. towards her lover : — for example —

44 She balked his sitting down beside her by advancing to meet him ;
and even a hasty embrace was prevented by the pretence of fetching
the betel-nut to present to him , while he was yet at some distance ;
and no conversation with him was entered into by her, keeping her
people employed near her : — thus, indirectly, did the sharp-witted
dame cause her anger against her lover to attain its object.”

The Mirror of Composition .

Text.

No. 105. But she, 4 the mature ’ dame , who 4 partly possesses and
partly does not possess self-command,’ will, when indignant, vex him
with ironical speeches.

Commentary.

a, “ Him” — i. e. the hero : — as in the following verses of mine —

“Since, even when unadorned, 0 beauteous youth, thou dost forcibly
carry olf my heart, — how much more now — adorned as thou art with
the scratches of the nails of her, mg rival /”

Text.

No. 100. The other will scold and beat him.

Commentary.

a. “ The other” — i. e. the 4 mature dame 4 NOT possessed of self-
command* — as the dame spoken of in the verses under § 72. a. viz
“Perceiving her countenance crimson with passion,” Sic.

h. And in all these descriptions of behaviour, (from § 103 to § 106
inclusive,) the expression 4 when moved by anger’ is supplied from § 103.

Text.

Subdivision of
heroines accord-
ing to tlm mnk
they respectively
bold in tlio affec-
tions of tlio Hero.

No. 107. These, moreover, are severally two-
fold, through their being in the shape of the lower
or the higher in the affections of the hero.
Commentary.

a, 44 These” — i. e. the six kinds of heroines mentioned close by —

see § 102 as—

44 Seeing his two dearest ones seated together on one seat, having
approached behind, having politely closed the eyes of one, he made
a pretence of engaging in play with her. At the same time gently
turning his neck, quivering with pleasure, the wretch kisses the other
one, the page of whose cheek shone with inward laughter, while her
heart bounded with delight.”

Text.

Tho heroine No. 108. Hence — see § 107 — twelve varieties

who is another’s* , , , , , , .

dividud. of the 4 adolescent and 4 mature heroines , together ,

are spoken of; but the ‘youthful’ heroine — § 90 — is of but one kind —

w far as we have get gone ; therefore let the divisions of 4 one’s own*

—see § 97 — be thirteen. The one 4 belonging to another* — the second

The JUirror of Composition-

•i in the list of heroines in § 96 — is spoken of as of two kinds — (1)
‘another’s wife/ and (2) a ‘ maiden.’

Commentary.

a . Among these —

Text.

No. 109. The heroine who is ‘ another’s wife’ is one addicted to
wandering, &c., who brings dishonour on her family, and whose mo-
desty is lost.

Commentary.

a. As—

“ My husband, if I even breathe, calumniates me ; my fellow-wives
are ever smelling my mind, or guessing at my thoughts ; my mother-
in-law is the very goddess of gestures, and exercises her sagacity in
misinterpreting every gesture of mine ; my sisters-in- law lick the pur-
poses of my two eyes , finding, no doubt , a flavour of mischief in every
glance . Therefore, from a distance, do 1, in entreaty , join my hands to
thee — forbear from easting love-glances upon me NOW — 0 thou sweet
of wit and voluptuous in dalliance, this labour o f thine is vain at such
a place as this.”

b . For in thi $ passage, that her affections find their object in a hero
other than her husband \ is understood through the force of the meaning
sit guested — see § 23 — viz , “ my husband, inasmuch as he gives me
food and raiment, is my lord but not my love ; but thou, being ‘ sweet
of wit and voluptuous in dalliance/ art my Jbeloved,” See.

Text.

No. 110. But the * maiden’ (§ 109) is one whose marriage has not
taken place,— bashful, newly arrived at the period of youth.

Commentary.

Why the maid- a. And her being reckoned as ‘belonging to
^Stluhosothat another,’ is because of her being dependent on her
are ‘ another's.* father or some one else — as, for example, Mdlati, in
pie play o/’Maiati and Madhava* — and the like.

* Translated in Wilson’s “ Specimens of the Theatro of the Hindus.”

The Mirror of Composition .

Text.

Definition of the No. 111. Let the 4 common’ heroine (§ 96,) bo a
< anybody’s.’ courtesan, possessed of self-command (see § 102) —

skilled in arts (see § 68. a .) — She hates not the worthless, nor does
die love tho good. Only with an eye to gain will she exhibit fond-
ness : — she will make her mother turn out of doors, even though he
may be agreeably acceptable to her, the man whose money is expend-
ed, — with the wish that they may meet again when he is better
provided. In general, the paramours of these women are thieves,
* persons diseased through excess, fools, and those who have come by
money lightly, — pretended devotees, secret libertines, and the like.
In some cases, however, when love obtains the mastery, she becomes
honestly enamoured. Whether she be attached, or devoid of attach-
ment, the possession of her is hard to obtain.

Commentary.

a. A “ person diseased through excess” is one with the gout or a
disease from debauchery and the like. 14 Secret libertines” are those
who pursue their pleasures clandestinely.

b. Amonsr these 4 common ’ women , the one 4 devoid of attachment*
is such a one as Madanamaujan in the play called the Nataka-melaka.

c. A 4 common woman — honestly 4 enamoured’ is one such as
Vasantasena in the Mrichehliakatika* or the 44 Toy-cart”

d. And again —

Text.

The sixteen kinds No. 112. These heroines that have been sepai-a-

of heroines now t(!( j ; llto sixteen divisions —viz. the sets of thirteen
obtained, further . .

subdivided accor- and two in § 108, and the one in § 111 -become

fold divorsity^'in MW.rally eight, thus giving one hundred and twenty-
tlioir * condition . 1 eight kinds , through their con d it tons— -for each one
may be (1) 4 one who has an obsequious lover and, in like manner,
(2) who is 4 ill-treated,’ or (3) 4 who goes after her lover ,’ or (4) 4 who
is separated by quarrel,’ or (5) who is 4 neglected,’ or (6) 4 whose hus-
band is abroad,’ or (7) who is 4 prepared in her house,’ or (8) who is
* longing in absence’ of a lover not intentionally neglectful .

# Translated in Wilson’s « Specimens of the Theatre of the Hindus ”

L 2

The Mirror of Composition.

Commentary.

a* Among those —

Text.

The heroino No. 113. Whose lover, attracted by her amiable
sincerely loved. qualities, leaves not her side ; who has surprising
charms, and is fondly attached, — let such a one be the one ‘ who has
an obsequious lover.’

, Commentary.

a . As is exemplified in the verses under §'73. a. — “ My garments,
0 friend,” &c.

Text.

The heroine No. 114. Whose lover goes near her bearing the

sinned against. marks of his having been toying with another, — this
one, red with jealousy, is called, by the learned, the ‘ ill-treated’ one.

Comm entauy.

a. As is the lady in the verses under § 103. a. — “ Thou hast said
truly,” &c.

Text.

The heroino No. 115. She who, acknowledging the power of
making advances. L ove? sends to seek her lover, or goes herself to seek
him, — this one is called, by the learned, the one * who goes after her
lover'

Commentary.

a. These two cases are here exemplified in their order — as —

“ * Having understood his feelings thoroughly, speak to him in such
a manner that he may not discern my levity in sending to hire him hack
after having capriciously repelled him , and Jhat he may act tenderly
towards me — thus did a certain one instruct her female messenger.”*
t(< I have laid aside this my pair of bracelets ; I have fastened my
girdle tight ; with much pains X have produced dumbness in my
chattering anklets ; — and, 0 my dear friend, just when I had begun
to be eagerly impatient to set out on Love’s errand, this wretch of a
Moon throws aside the protecting mantle of the dark !’ ”

Text.

How heroines No. 116. If one of good family goes in search
Bcriptiomfgo out °f her lover > she ? ot ‘ s crouching —literally —melted
on assignations. or absorbed into her own limbs — making herself (W
* Canto, ix, v. 56.

The Mirror of Composition.

small as possible , — with all her tinkling ornaments silenced, and veiled
in her wrappers. But a courtesan, if she goes in search of her lover ,
will have a dress of wondrous splendour, her anklets tinkling as they
move, and a face all smiles of joy. A female servant, if she goes in
search of her lover , while she gets along with great strides, will have
her speech stammering through delight and her eyes staring wide open
in her Hurry.

Commentary.

a. In the case of the first of these ice have an example in such
verses as those under § 115. a.— viz. “ I have laid aside,” &c.

h. Among these the ‘ female servant that goes in search’ of her
lover , is one such as the damsel described in the verses following — viz.

“ Here the servant girl, repeatedly exhibiting her betel-stained teeth,
laughing without a reason and with an affected tone of voice resembling
the neigh of a mare, (tauntingly setting her staggering footsteps here,
there, and everywhere, with her hips dancing high, stays wriggling
about in front of the young men.”*
c. Examples of the others are to be inferred by the reader for

d. As being connected with this topic, the places of going on an
assignation are next mentioned.

Text.

Localities adapt- No. H7. A field, a garden, a ruined temple, the
cd for assigna-

ti ons . house of a female messenger, a grove, a caravansera,

and a cemetery, — so too the bank of a river, Ac. — thus there are eight
places for the satisfaction of those who, following after men, set out
on an assignation ; — and moreover there is a resource anywhere in
places screened by darkness.

The heroine re- But she who, in anger, haviifg repulsed her
caprief ^ ° Wn soul’s lord even when wooing, afterwards experiences
remorse, is the heroine called the one 1 separated by quarrel.’

Commentary.

a. As in these verses of my father’s,

“ I did not listen to his fond speeches, nor was the necklace which
he presented near me regarded by my sight ; the admonitions too of

# Tho portion marked b is ovidontly an interpolation, being incompatible with
the dual number in (others) in § c. My MS. has it not. I\ M.

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my female friend, to the effect that T should show kindness to my lover,
were rejected. When he fell at my feet, alas, at that moment why
was not lie, when departing, retained by me — fool that I am— with
my two arms, and clasped eagerly to my neck ?”

Text.

Tho heroine No. 118. But she — most disrespectfully treated —
outraged by nog- ^

loot. to whom her lover does not come, after having made

an assignation, is to be known as 1 the neglected/

Commentary.

a . As —

“ Arise, my messenger— lot us go. A watch of three hours has
gone, and he is not come. He has gone elsewhere ; -long life to him
— may he be the life’s lord of her to whom I resign him.”*

Text.

Tho heroine No. 110. Let her, whose lord, by constraint of
pimng in absence, various affairs, has gone to a far country, afflicted by
the pains of affection, be the one 1 whose husband is abroad.’

Commentary.

a. As —

“ You may recognise her, of measured discourse, my second life, in
the absence of me her companion, like a solitary duck.f I can fancy
the girl, grievously pining whilst these heavy days go by, altered in
appearance like a lotus pinched by the cold.”J

Text.

The heroine No. 120. But hit her who is arranging herself—
expectant. being all ready in her house, expecting the arrival of

her lover — be the one ‘ prepared in her house.’

% Commentary.

a. As in the following passage which occurs in a drama of
Rnghavananda —

* Tho translation of this portion, though not altogether incompatible with tho
reading of tho text, is so with the writing adopted in Root's edition as also in
my own MS. According to this the following is the correct rendering : bet
him be the life’s lord of hke who should livk after this sad disappointment ( —
i. e. neither shall I survive nor will ho bo rny lifo’s lord.) 1\ M,
t The chakrardka , or Brahmany cluck, is supposed to lie under tho necessity
that the male and female shall pass the night on opposite banks of the river, '

X Sec tho <c Cloud-mcssengor” — Stanza 82.

The Mirror of Composition.

“ Remove my armlets ; — enough — nay too much — with these strings
of jewels on my two wrists ; — what need of this necklace ? — it weighs
on my neck like the heavy and clinging branches of a creeper ! — ()
do thou put upon me nothing besides one single new pearl-necklace.
Unsuitable is a superfluity of bodily decorations when one is con-
cerned with the festival of him — viz. the god of love — who has not
even — a body — his body having been reduced to ashes by the fiery
glance of S'iva when the god of love rashly shot him.”*

Text.

The heroino chs- No. 121. J3utshe whose lover, though he intciul-

nppoiutud through

hi i sud venture. ed to come, through accident did not come, — she,

afflicted with the grief of his not coming, is the one 4 longing in
absence’ of a lover not intentionally neglectful.

Commentary.

a. As —

“ * What — has he been stopped by some other mistress ? — or has*
he been vexed at my female friend — who carried my message and may
not have delivered it properly — ? — or has there been some matter
of moment, that my lover has not come to-day ?* Thus reflecting,
the fawn-eyed one, leaning her lotus-face upon her hand, sighed deeply
— and long she wept, and the garlands of flowers she flung away from
her.”

Text.

Tho hundred and No. 122. Let the one hundred and twenty-eight

of homines subdi- hinds if heroines — see § 112 — inasmuch as they
vided into three- mil y 0 f the first-rate, the medium, or the lowest,

four. description, be eighty and four added to three hund-

red.

• Commentary. #

a. And on this point — viz. the subdivision of all heroines alike
according to the eight 6 conditions' specified under § 112, some one
says — “ Those two kinds of women who 4 belong to another’ — see §
108 — , viz. the maiden and the married woman whose affections are
set elsewhere than on her husband , are not subdivisible according to all
those 4 conditions’ — but only according to some of them '—for example ,
before an assignation has been made with them by any lover , they may,
fto doubt , be 4 longing in absence* — see § 121. Then again after an

* See the Kumdra-scmbhavai 3d Canto, stanza 72.

The Mirror of Composition.

assignation has been fixed, setting forth, along with the buffoon (§ 70)
or some one else, they may become ‘goers after* see § 116 ; — and if,
for some reason, the hero have not come to the appointed place, they
may be ‘ neglected’ — see § 118 ; — such alone out of the eight are the
three ‘ conditions’ applicable to these two, because the other conditions
— such, for instance, as the being separated by quarrel — § 117 — are
incompatible with these two whilst they have no lover devoted to
them.”

Text.

Heroines of No. 123. In some examples a mutual commingling
composite chumc- . ‘

t or . ot the various characters oj these various hinds of

heroines — see § 122 —is seen.

Commentary.

a. As —

“ 1 Not we, indeed, are worthy of the gilt of this branch with its
mew shoots that you offer us, to be worn as an ornament behind in our
ear. Go, give this branch— etymologically the cherisher of its ‘ shoots'

• — vita — to her who in secret drinks the lips of and cherishes thee —
vita — or ‘ rogue — as thou art. Let the two — alike entitled to the
name of vitapa — be joined, since the junction of like tilings has been
long the rule. Wretch! what should we do with thy needlessly
deposited earfuls of the shoots and flowers of plants ? Have not
both my ears been long filled full with your honour’s unkind words —
well-known to everybody f* -—Thus speaking, the other dame struck her
lover simultaneously with the dark lotus and with her eye — the lovely
eyelashes of the one expanding wide4ikc the filaments of the other —
and vice versd, — and each being confined by her ear* — the ear being
the boundary of her beautifully long eye— and the lotus with which
she strikes him Having been previously worn behind her car as an orna-
ment."

b. For this one — the heroine of the foregoing verses , — (1) by her
sarcasms, (2) by her harsh language, and (3) by her striking him with
the flower which had served as the ornament of her ear, is compounded
of the character of (1) the' 4 adolescent heroine who possesses self-com-
mand’ (see § 103,) (2) of the ‘.adolescent heroine who does not possess
self-command’ (see § 103,) and (3) of the ‘mature heroine who does

* Mdyf ta, Canto 7tli, verses 53, 54, and 56.

. »

The Mirror of Composition . 81

not possess self-command’ ( see § 106). In like manner in other cases
the reader can judge for himself out of what elements the character of
any given heroine is compounded .

Text.

The further No. 124. There are others also, besides the three

heroines 1011 given hundred and eighty four mentioned in § 122, with the
up as endless. varieties suggested in § 123, beyond number ; but
these are not specified for fear of prolixity.

Commentary.

a. “ These” — i. e. heroines.

b. Now the graces of these heroines are to be described .

Text.

Tho twenty- No. J25. In youth these heroines have — divided

eight graces of ......

the heroine. amongst them — twenty-eight ornaments, or graces ,

arising from the quality of 4 purity’ — sattwa — the source— see Tattwa ■

samdsa,p, 25 — of all that is best and brightest in the phenomenal

world. Among these twenty -eight, three, viz. (I) ‘the slight personal

indication of natural emotion’ (bhdva), (2) * its stronger expression’

(ham), and (3) ‘the decided manifestation of feeling’ (held), are

produced by bodily movement ; — (4) ‘ brilliancy’ (s'obhd), and (5)

‘loveliness’ (kanti), and (6) ‘radiancy’ (dipti), and (7) ‘sweetness’

(mddhurya), (8) ‘boldness’ (pragalbhatd) , (9) ‘meekness’ (auddrya),

(10) ‘ constancy’ (dhairya),—leb these be the seven (from 3 to 10) that

arise naturally without effort eighteen in number are the following

— viz. (11) ‘fun’ (lild^, (12) ‘flutter of delight’ (vildsa ), (13)

‘simplicity in dress’ (vichchhitti) , (14) ‘affectation of indifference’

(vivvoka), (15) ‘ hysterical delight’ (kilakinchita), (16) ‘the mute

involuntary expression of affection* (moffayita), (17) ‘ the affected

repulse of a lover’s endearments’ ( kutfamita ), (18) ‘ fluster’ (vibhrama),

(19) ‘voluptuous gracefulness* (lalita), (20) ‘ arrogance’ (mada), (21)

1 the suppression of the sentiments of the heart through bashfulness*

(vikrita), (22) ‘pining’ ( tapana ), (23) ‘ simplicity verging on silliness*

(maugdhya), and (24) ‘distractedness’ (vikshepa), (25) ‘impetuous

curiosity’ (kutuhala), (26) ‘giggling* (hasita), (27) ‘trepidation*

(chakita), and (28) ‘sportiveness’ (keli).

The Mirror of Composition.

And the first ten natural graces , beginning with ‘the slight per-
sonal indication of natural emotion* (bhava), belong to* those of the
male sex also.

COMMENTABY.

a. The first ten, beginning with ‘the slight per-
sonal indication of emotion* (bhdva), and ending
with ‘constancy* ( dhairya ), may belong also to heroes,
but all these produce a special admiration only when
lodged in heroines,— -for — what reader cares about
the hero's first tremours , Sfc., compared with those of the heroine?

b. Of these twenty-eight , the ‘ slight personal indication of natural
emotion’ (bhdva), is defined as follows.

Text.

No. 126. ‘ Bhava’ is the first alteration in a mind previously un-
altered.

Some of these
graces may belong
to the male sex,
but have not the
interest that they
hare in the fe-
male.

COMMENTABY.

The grace call- a * That is to say — ‘ bhava* (§ 125) means a change,
ed bhdva— what, barely awaking, in a mind previously tranquil and
unaltered from the time of birth forward, — as is noted in the heroine
if the following lines .

“ ‘ Again there is the same spring time, and the same aromatic breeze
from Malaya, and this is the very same maiden, — yet her mind is, as
it were, altered.”*

i. Now of ‘ h£va,* (§ 125)—

Text.

The grace call* No. 127. Butlih&va (§ 126,) where the alteration
edhdwt— what. is slightly modified— so as to show, by alterations
of the eyebrows or eyes, &c., the desire for mutual enjoyment, — is
called 1 h£va.*

CoMMENTABY.

o. As is exemplified in the following description of ParvaU,from
the KumAra Sambhava, canto, III. v. 68.

“ With limbs like the young flowers of the Nauclea Kadamba in
which each filament stands on end , the daughter of the mountain be-
traying the ‘ change* in her heart now warmed with love for 8'iva ,
stood, with her lovely face turned aside, while her eyes glanced hither
and thither ”

The Mirror of Composition . $8

h Now of * held* (§ 125) : —

Text.

The grace called No. 128. And let 4 hol4* mean the same when

held— what. the change is porceived to be very great.

COMMENTABY.

a. 44 The same” — i. e, 4 bhava’ — see § 126, For example : —

“ Such is the beliaviour of the woman, agitated in every limb, that
the mind of her female friends is in doubt whether she be any longer
one of the 4 artless* heroines mentioned in § 99, and not promoted into
the next class mentioned under § 100.”

Brilliancy. b, Now of 4 brilliancy’ (s'ohlid — § 125^).

Text.

No. 129. What is called 4 Brilliancy’ is that grace of limb which
is derived from beauty; youth, high spirits, and high feeding.

COMMENTAEY.

a. Of these varieties we may have the brilliancy due to youth —
as in the following from the Kumara Sambhava , canto 7 v. 31.

44 She now entered upon the ago beyond that of childhood, that
period of adolescence which is an ornament, of the straight person, not
supplied ab extra, as dresses and jewels require to be , a cause of intoxi-
cation yet not having the name of wine, a weapon of Cupid other
than the flowers which serve as his arrows .”

b. And so too in the case of the others — derived from high spirits ,
#c. Now of 4 Loveliness’ (Jcdnti — § 125).

Text.

Loveliness. No. 130. This same 4 Brilliancy,’ when increased

by love which adds greatly to the attractions of the woman loving, be-
comes 4 Loveliness.’

CoMMENTABY.

a, That is to say — 4 brilliancy’ (§ 129) when much increased by the
arising of love, takes the name of 4 loveliness — as is exemplified in
the verses under No, 100 — beginning 44 Her two eyes shame the
wagtail,” &c.

b. flow of 4 Radiancy’ (dipti — § 125 ),

Text.

. Radiancy. No. 131. Loveliness, when expanded exceedingly,
is called 4 Radiancy.*

M 2

84 The Mhror of Composition .

Comment aby. .

a. As is exhibited in the description of ChandrakalA, in my play
of the same name : — e, g.

“ She is the ecstasy of youthfulness — the laugh of the abundance of
excessive beauty, — the ornament of the face of the earth, — the subju-
gation of the minds of the young men*”*

A. Now of ‘ Sweetness' (madhurya — § 125,).

Text.

Sweetness. No. 132. * Sweetness’ is pleasingness in all kinds
of states — whether sick , naked y in exile > Sfc . £{c.

COMMENTAltT.

a. For example — take the following passage from the drama of
8'akuntald : —

“ The lotus is beautiful even when clogged with conferva, — even
the dark spots of the gentle Moon enhance her beauty. This slender
maid, though clad in bark, is most charming,— for of gentle forms
.pray, what is not the ornament ?”

b. Now of 1 Boldness’ (pragallhatd — § 125).

Text.

Boldness. No. 133. ‘ Boldness’ is the being devoid of fear.

CoMMENTABY.

a. For example : —

“ These women make their lover their slave, by*hugging when hug-
ged, by kisses in return when kissed, and by bites when bitten.”

A. Now of ‘Meekness’ (auddrya — § 12 of

T*Mt, »

Meekness. No. 134. ‘ Meekness’ is mildness at all times.
COMMENTABY.

a. “ She utters no harsh word — though my offence is proved, —
she makes no frown, she throws not on the ground, in testy rage t the
ornament of her ear but towards the face of her female friend, con-
templating he* from without through the lattice, she only turns her
two eyes suffused with tears.”

A. Now of * Constancy’ (dhairya— § 125).

* The preference of abstract to concrete terms, in this as in other compar-
atively recent specimens of composition, is noticeable.

The Mirror of Composition .

Text.

Constancy. No. 135. By * constancy’ is here meant the state
of mind called steadfastness, unattended with self-praise.

a. For example take Malati , Act ii. f preferring death to marriage
with any other then her beloved.

“Let the full moon, agonizing to separated lovers , blaze in the sky ;
let Love scorch me, — what can he do beyond death ? My father is
beloved and honoured, my mother of unblemished descent, and so too
my family ; — But Jam nothing, — I no longer exist, — nor will I consent
to exist if honourably descended as lam , lam forced towed with
other than the man I love .

b. Now of ‘Fun* (ltld—§ 125J.

Text.

Fan. No. 13G. The mimicking of a lover in respect of

the manners, dress, ornaments, and loving speeches, which his fondness
had moved him to employ, they call 4 Fun.’

Commentary.

a. For example wo find Pdrvati reminded of her making fun of
S'iva in the following invocation .

“ May P£rvati protect the world, — playfully mimicking S'iva, — hav-
ing as a snake-bracelet the creeping root of a lotus instead of the cobra
da cap ell o, and having made the cluster of her locks into a wild top-
knot such as is cultivated by S'iva and other ascetics

b. Next of the i Flutter of delight’ (vildsa — § 125).

Text.

Flutter of de- No. 137. But let that peculiarity in movement, ill
the way of standing, or sitting, or in the action of
the mouth or eyes, Ac., which is caused by the sight, for instance, of
the desired one, be called the * Flutter of delight.’

Commentary.

a. As an example take Mddliava's account of Malati' s manner on
recognizing hm } — Act J. sc . 2.

“ Meanwhile there was manifested a certain triumphant specimen of
Love’s teaching, the wondrousness of which transcends the power of
speech, raising an agitation in the long-eyed maid, and scattering to

The Mirror of Competition.

the winds my self-command, — so richly was this specimen of Love's
teaching diversified with all that is exquisite.”

b. Next of ‘ Simplicity in dress’ (vichchhitti — § 125).

Text.

Simplicity in No. 138. * Simplicity Jn dress,’ which adds to
dress. loveliness,* consists in the employment of little

ornament.

Commentary.

a. As an illustration see the instructions in the following lines of
Mdgha, canto VIII. v. 70.

“The body cleansed by ablution with pure water, the lip adorned,
by the lustre of the chewed betel, a thin white robe, — let thus much
constitute the decoration of fluttering dames, — provided he be not
fancy-free, — in which case a more elaborate toilet mag have to be put in
requisition to produce an impression."

b. Next of the ‘ Affectation of indifference’ (vivvoka — § 125 ).

Text.

Affectation

indifference.

0 f No. 139. But ‘ Affectation of indifference' is the
showing of disrespect even towards a desired object,
through exceeding haughtiness.

Commentary.

a. For example : —

« who, while they do find good qualities, make great allegations of
fault,— who would rather yield their lives than look their lover full in
the face, — whose very affirmation even in regard to what they exceed-
ingly desire is negative, — may those women — of a nature strangely
different from the three worlds — be*auspicioAs to thee!”

b. Next of ‘ Hysterical delight’ (kilakinchita—§ 125).

Text.

Hysterical do- No. 140. The commingling of smiles, and of
light. weeping with unwet eyes, laughter, alarm, anger,

fatigue, Ac., from the delight produced, for instance, by meeting with
the best beloved, is what we call ‘Hysterical delight.’

Commentary.

a. As an example take the following from the pom of Mdgha,
emtb X, v. 69 .

* The 1 simplex munditiis* of classical quotors.

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“ Even in her joy, the taper-limbed girl repulsed her lover’s hand —
not wishing to repulse it,— chid him amid the sweetest smiles, and
wept ravishingly without a tear.”
b. Next of the 4 Mute involuntary expression of affection’

yita.)

Text.

Mute involun- No. 141 . Her m ind being taken up by the
tary expression of . , „ , . . , , , n .

affection. thought of him, — when her lover is, for instance,

talked of, — her scratching her ear, or^he like, they call a 4 Mute in-
voluntary expression of affection.’

a . As an example take the gestures of the woman from which the
speaker of the following lines infers her love for his friend.

44 0 fortunate man ! when they begin to speak about thee, that woman
has an inclination to scratch her ear, a yawn comes to her lotus mouth,
and she stretches all her limbs.”

b. Next of the 4 Affected repulse of a lover’s endearments’ (kufta*
Miita — § 125 )•

Text.

Affected repulse No. 142. When he takes her hair, her bosom, or
dearments™ ^ her lip, &c ., — the prohibition 44 DonH” — whether
conveyed by the shaking of the head or the hand, — through agitation,
even when she is delighted, is what they call the 4 Affected repulse
of a lover’s endearments.’

Commentahy.

a. For example the prohibition may be expressed by the hand as
in the following instance . •

44 When her lover bit her cherry-lip, friend to the hand , being both
equally comparable to the tender leaf, —an expression of sympathetic
pain was as it were uttered by that limb of the girl as the bracelet
rattled shrilly upon it.”

£. Next of 4 Fluster* (vibhrama—§ 125).

Text.

Fluster. No. 143. The application of ornaments, &c. to the

wrong places, through hurry arising from delight or eagerness, on such
occasions as the arrival of the beloved one, is what we mean by
Cluster.’

The Mirror cf Composition .

Commentary.

a . # For example

“ Having heard her beloved approaching outside, she-*not having
yet completed her toilet — applied to her forehead the black antimony
intended for her eyes, to her eyes the lac-dye intended for her lips ,
and to her cheek the patch which should have decorated the centre of
the forehead”

h. Next of ‘ Voluptuous gracefulness/ (lalita — § 125 ).

^Text.

Voluptuous No. 144. Let the disposition of the limbs with

gracefulness. elegant delicacy be called * Voluptuous gracefulness/

Commentary.

a . As is exemplified in the demeanour of the heroine of the following
verses from the poem of Ma glia, canto VII. v, 18.

“She walked with a step languid through love, with her anklets
sounding with a graver music than when in brisker movement , with
her lotus-like left foot gracefully dancing, while planting the other one
not so coquettishly.”

b . Next of i Arrogance* (mada — § 125).

Text.

Arrogance. No. 145. ‘ Arrogance 1 is a change produced by

the pride of prosperity, youth, &c.

Commentary.

a. For example we have Arrogance * rebuked in the following

verses . ^

“ Exalt not thy conceit, though on thy cheek there shines, drawn
by thy lover's hand, a flower-bud designed as an ornament . Is no one
else, tliinkest thou, the recipient of such decorations ? — were it not
that the trembling of the lover's hand is an unfriendly obstacle,— while
thy lover is so cool and collected that his hand never trefoibles even
when sketching a flower-bud on thy cheek !”

b . Next of * Bashfulness* (vikrita — § 125).

* Arrogance may seem an odd ornament of the heroine, yet it is a topic which
can supply the poet with the means of embellishing a pioture. The same remar
applies to some others of the so-called 1 ornaments.' Besides, unreasoning hoy-
dens are to be regarded with a degree of indulgence, and Bacon has remark
that Pride, which is laughable in a man, is graceful in a horse.

The Mirror of Composition .

Text.

Bashful ness. No. 146. Through modesty, not to speak even
when onegsught to speak, is what we mean by ‘ Bashfulness. *

* COMMENTARY.

a, For example : —

“ Being asked after her health, by me who had come from afar, she
answered nothing ; but her two eyes bathed in tears told all that she
had suffered in my absence and novo felt at my return .”

b. Next of 1 Pining’ ( tapam — § 125).

Text.

Pining. No. 147. ‘ Pining’ is the conduct arising from

a possession with love in separation from the beloved one.

Commentary.

a. For example taJce these verses of mine.

“ She pours forth sighs, and rolls upon the ground ; she looks out
upon your roacl, and long she weeps ; she flings hither and thither her
weak tendrils of arms ; — moreover, 0 dear to her as life ! — longing to
be re-united with you even in her dreams, she yearns for sleep, but
her hapless fate bestows it not.”

b. Next of ‘ Silliness’ ( maugdhya — § 125).

Text.

Silliness. No. 148. The asking, as if from ignorance, even

of what she perfectly well knows, in the presence of her lover,— this
is called ‘ Silliness’ by those who know things rightly.

Commentary.

a, For example, — in the following verses , the heroine knowing very
well that pearls are obtained from the sea t asks , with . touching
simplicity —

“My lord/ what trees are they, and in what village, and by whom
planted, df which the seed-pearls of my bracelet are the fruit ?”

* b, Next of Distractedness’ (vikshepa — § 125).

Text.

Distractedness. No. 149 . The half arranging one’s ornaments, the
wildly gazing in every direction, and a partial blabbing of secrets, con*
stitute ‘ Distractedness,* arising from some cause or other , when near a
husband or a lover.

The Mirror of Composition.

Commentary.

a. . For example: —

“ He: hair is half loosened, and in like manner she felt partly
forms the ornamental mark on her forehead j— something of a secret
she gives utterance to, and startledly the slender dame gazes in every
direction.”

h. Next of* Impetuous curiosity’ ( Tcutuhala — § 125^.

Text.

Impetuous ou- No. 150. Let the lively desire to behold a pleasant
riosity. object be called * Impetuous curiosity,’

Commentary.

0. For example, impetuous curiosity appears in the lively desire
of the ladies to get a sight of the king entering the city with his bride ,
— as described in canto VII. of the Baghuvans a, the 7 th verse of which
here follows .

“One lady, withdrawing the foremost foot, which was supported by
the female decorator employed in tingeing it with lac-dye , dripping as
it was with the pigment, neglecting all gracefulness of gait, traced a
path stained by tbe lac-dye up to the window which she hurried to
look out at

b . Next of ‘ Giggling’ (hasita—§ 125 ).

Text.

Giggling. No. 151. But ‘Giggling’ is aimless laughter

resulting from the outbursting of youth.

Commentary.

a. For example : —

u Since the slender-limbed one has again laughed without a reason,
surely he of the flower-tipped arrows is establishing his rule within
. her.”

1. Next of ‘ Trepidation’ ( chakita—% 125 ),

Text.

Trepidation. No. 152. ‘ Trepidation,’ is agitation from fear, be-
fore a lover, from whatever cause.

Commentary. ,

a. As an example take a verse, canto VIII v. 24., from the passage
in the poem of Mdgha descriptive of the sports of the bather*.

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“ Trembling, when struck on the thigh by the passing fish, the fair*
limbed one fell into excess of agitation. The ladies are nervous — 0
exceedingly — even without a cause, in sports ; — how much more, then,
when there is a cause — such as this lumping of a fish against one!”

h Next of * Sportiveness’ (keli — § 125 ).

Text.

Sportiveness. No. 153, Playing when walking about with one’s
lover is called ‘ Sportiveness. ’

Commentary.

a. For example : —

“ Her lover, unsuccessful in removing from her eye, with his breath,
the pollen of the flower which had got into it, the bold and high-
plump-breasted damsel pushed away with a knock of her bosom upon

b. Now, as regards the amatory demeanour of the artless and the
unmarried of the fair sex , we have to remark as follows.

Text.

The demeanour No. 154. When looked at, she exhibits bashful- \
of an enamoured , . ...... . r , , ,

artless girl. ness, and never returns the look to his tace : she looks

at her beloved either furtively or when he is walking Jj^out, or after

he has passed. Even after having been many times asked, she usually

answers her lover something in a stammering tone, slowly, and with

face down-looking. She ever attentively hearkens to a conversation

about him carried on by others,-— turning her eyes elsewhere thus

acts a girl when enamoured of her lord.

Commentary.

a. Now, as regards the amatory demeanour of all heroines we have
to remark^ as follows.

Text,

Th© demeanour
of enamoured ho-
milies in general*

No. 155. She wishes her beloved to remain long
near her ; she goes not within the range of his vision

unadorned. On one occasion, under the pretence of covering or

fastening her hair, she will display plainly her armpit, her breasts, or
her lotus navel. She gratifies the attendants of her beloved by words
and other things ; — she places confidence in his friends and treats
them with great respect. In the midst of her female friends she recites
his praises ; she bestows upon him all her wealth ; she sleeps when he

N 2

92 The Mirror of Compotition.

sleeps, grieves in his grief and rejoices in his joy. Standing in the
line of his sight, from a distance she ever gazes on her beloved. She
speaks to his attendants in his presence. On beholding any symptom
of fondness in him, she laughs with delight. In like manner, she
scratches her ear, loosens and ties up her hair, yawns, and strotches
her limbs, or catches up a child and kisses it. She begins making the
ornamental mark on the forehead of her female friend ; — she writes on
the ground with the point of her toe, and looks up with a sidelong
glance. She bites her lip, and looks on the ground when she speaks to
her beloved, and quits not the spot where her lover is to be been. She
goes to his house on any sort of pretence of business. Anything given
to her by her lover, having placed on her person, she long gazes at.
She ever rejoices in his society, and in his absence she is miserable,
and thin. Greatly does she admire his disposition, and she loves
whatever is dear to him. She asks from him, as keepsakes , things of
little value ; and when sleeping she turns not her back on him. In
his presence, she gives way to the blameless moods of trembling ,
stammering , <5[c., mentioned under § 1(56. Kindly and blandly does
the fond dame converse with him. Among these points of demean-
our here emn\erated } the more bashful gestures belong to the young
wife, those of which the modesty is of a medium description to the
middle class of heroines — see § 98, — and those where modesty has t
wanted to heroines who are the wives of others, and dames maturely
bold, and courtesans.

Commentary.

a. As a mere hint of what is meant, take my verses here following.
“ Even when I draw near her, this one seeing, yet pretending not to

see me, displays her armpit adorned by fresh nail-scratches,” .

b . And so —

Text.

Means available
to a lady for re-
vealing her affec-
tion.

sentiments.

No. 166. By sending of letters, by soft looks and
gentle words, and by sending female messengers, it is
agreed by the learned that a woman may reveal her

The Mirror of Composition,

COMMENTARY.

a. Next, then, of female messengers.

Text.

What females No. 157. Female messengers may be a friend, an
lingers actress, a slave-girl, a foster-sister, a neighbour, a girl,

a wandering ascetic, a workwoman, a female artist, &c. ; and likewise
one’s self.

Commentary.

a. By a 4 workwoman’ is meant a washer-woman, or the like. By
a 1 female artist’ is meant a woman who makes pictures, or the like.
By the 4 &c.’ are meant female purveyors of betel-nut, perfumery and
the like. Among these, the * friend,’ acting as a messenger , may be
recognised in the narrator of the heroine's sad case in the verses , quot-
ed under § 117, beginning as follows : —

44 She pours forth sighs,” &c.

b. One acting as messenger for one’s sell may be recognised in the
following lines of mine.

“ 0 traveller, — thou seemest thirsty ; — why, then, goest thou else-
where? There is none here to present the slightest obstacle — do drink
water in this house, or, as I secretly mean , quaff the sweets of amorous

c. And these (§ 157) serve the hero also as messengers to the

heroine. *

d. The author next mentions the qualifications, of a female mes-
senger.

Text.

The qualifica- No. 1 58. Her qualifications are skill in the lighter
tions of a female , ,

messenger. arts, perseverance, fidelity, penetration, a good me-

mory, sweetness, readiness to understand a joke, and fluency of speech.
These women too — as well as the heroines mentioned under § 75 — are,
in their own line, either of the first class, of the lowest, or of th?
intermediate order of merit .

Commentary.

a, 4 These, 1 — that is to say these female messengers.

b, -Now, as for the 4 rival’ mentioned under § 63 ns one of the
* substantial ingredients' in poetry : —

Text.

No. 159. The 4 rival/ or opponent of the hero 7 is a firm, haughty,
4, sinful person.

04 The Mirror of Composition.

Commentary. *

As is Havana in respect of R£ma.

a. Now, having fully explained the ‘ substantial * division of the
Excitants of poetic Flavour , we have to remark upon the second division
of the two mentioned under § 62 — viz. the* Excitants which enhance
the Flavour which is more essentially dependent on the others .

Text.

No. 160. The € Enhancing Excitants’ (uddipana-vibhava) are those
which enhance the Flavour.

Commentary.

a . And these ‘ enhancing excitants' are as follows : —

. The Excitants No. 161. The gestures, &c. of any principal
enhance the W Fia^ character (§ 63,) and in like manner places and
vour * times, &c.

Commentary.

a . By the ( Ac.’ after £ gestures,* are meant beauty, decorations,, and
the like. By the ‘ &c.* after ‘ times,’ are meant, the moon, sandal-
wood ointment, the voice of the Cuculus Indicus, the hum of bees, and
the like. Of these the moon as enhancing the sentiment of the scene )
may be exemplified as in these lines of mine. “ Resting his rays — as
if tfyey were a hand — which the word Jeara also means in Sanskrit — on
the swelling bosom of the eastern hill from which the mantle of the co-
vering of darkness had fallen off, the moon kisses the face of the eastern
horizon which opened its eyes — viz. the lilies that expand when the
moon rises .

b. Of what Flavour each of these (§ 160) is the appropriately en-
hancing excitant, will be mentioned when describing each Flavour : —
see § 209, & c*

o. Now, having given an account of the Excitants mentioned* at
§ 32, we have next to speak of the ‘ Ensuants’ which also give rise to
Flavour.

Text.

An Ensuant No. 162. That which, displaying an external con-
defined. dition occasioned by its appropriate causes, in ordi-

nary life ranks as an effect, is reckoned, in Poetry and the Drama,
an Ensuant ( anubh&va ).

The Minor of Composition . 9 6

COMMENTARY.

a. That gesture or the like which, manifesting externally the
love,&c* excited in the mind of RAma, or the like, by the appropriate
causes, — by Sfti, for example, as the principal cause, and the moon-
light, for instance, as an enhancer o £ the sentiment,— is called, in or-
dinary life, an EFFECT of love , or the like , — this, in poetry and the
drama, is, on the other hand, called an Ensuant— J ftwww? here it is of
no importance what things are causes and effects as regards each other
objectively,— the only consideration of importance being — what things ,
whether causes or effects among themselves , serve as causes in respect

' of Flavour* See § 44. e. and 45.

b . What, then, is this c Ensuant ’ — which you thus define ? To
this he replies as follows ; —

Text.

The Ensuants No. 1G3. In the shape thereof are those feminine
enumerated. graces mentioned in the enumeration under § 125
which result from bodily movement, and those graces which result
without bodily effort, and the involuntary indications of strong feeling
— § 32. J., as well as other gestures than the involuntary , — so far as
these are effects which serve # in poetry as causes , and are therefore
termed ensuants to distinguish them from effects simply.

Commentary.

a . * In the shape thereof,— i. e. in the shape of Ensuants. And
in regard to these,— what Ensuant is conducive to each sentiment shall
bo stated when describing these sentiments :—see § 209, fyc.

b. Among these Ensuants the involuntary (sdttwika) indications
of strong feeling are defined as follows.

Text.

Involuntary evi- 164. Those changes in a human being are

donees of feeling, called involuntary— or honest and spontaneous —
which arise from sincerity (sattwa).

Comment aby.

a. Sincerity — as we mag here render the term whieh t in 1 Indian
philosophy t stands for the cause of all that is best and brightest in the
phenomenal world— is a certain inward disposition which eponiane-

«5 The Mirror of Composition.

ouxly reveals the repose of one’s soul where it dote not interfere to
modify the indication,

T EXT. .

No; 165. These involuntary evidences of feeling differ from the
Ensuants in general (§ 163) onljtin their taking their rise in honest
sinoerity.

. , COMMENTABY.

a. As a stout bull differs from an ordinary specimen of the Cow-

kind, — such is the remainder which requires to he supplied in order to
complete the sense of the text. •

b. Now, which are these ? To this he replies.

Text.

* These specified. No. 166. Stupefaction (stambha), perspiration
(sweda), and horripilation (romAneha), disturbance of spee<& (swara-
bhanga), trembling (vepathu), change of colour (vaivamya), tears
(as'ru), and fainting (pralaya),— these eight are what are called the

involuntary evidences of strong emotion.

Commentary.

a. Among these —

Text.

And explained. No. 107. By Stupefaction is meant a prevention
of motion, by fear, or joy, olr pain, Ac. Perspiration is an exudation from
the body, caused by love, or warmth, or toil, Ac. Horripilation is a
ohange in regard to the hair of the body, caused by joy, or surprise, or
fear, Ac. What they call disturbance of speech, is stammering, occasion-
ed by intoxication, or joy, or pai^ Ac. Trembling*means a shaking
of the body, arising from desire, aversion, fatigue, Ac. Change of
colour is an alteration in the colour caused by sorrow, or intoxication, ^
or anger, Ac. Tears are water flowing from the eye, originating in '

anger, or in g&f, or in great joy. Painting is the cessation, thryh
joy or grief, of motion and also— wifoA distinguishes U from mere

stupefaction — •of consciousness.

COMMSKIABT.

a. These — or some of these— may be exemplified on in the following

veeses of mine. ^ , : V . .

<« it the touch of her person— Ah— -my eyes bslf close,*— o$W»ole
tody becomes petrified, while every hair

The Mirror of Composition. 97

ore, wet with perspiration; my mind, altogether withdrawn from all
other objects, attains to great joy*— even to absolute deity/’ -

h. So of the others — enumerated in (§ 106).

c. Now of the i Accessories’ (§ 82).

Text.

The Aooessonea No. 168. The 4 Accessories’— (vuabhichdri ) are

in the production ,

of Flavour. those, that more especially— vmch is the force of the

vi — co-operatingly — which is here the force of the abhi — go along

with,— whether immersed in or distinguishable from, — the permanent

agency ; and thirty** three are kinds thereof.

CoMMENTABY.

a. |fOr, in regard to Love, or the like, while it remains the main
sentiment, Self-disparagement (nirvveda), and other such things, are
called * Accessories/ inasmuch as they tend in the same direction, whe-
ther obviously or covertly.

h. Well— which are these P To this he replies.

Text.

The Accessories No. 169. Self-disparagement, Flurry, Depression,
specified. Weariness, Intoxication, Stupefaction, Sternness,

Distraction, Awaking, Dreamily Dementedness, Arrogance, Death,
Indoktoce, Impatience of opposition, Drowsiness, Dissembling, Longing,
Derangement, Apprehension, Recollection, ftesolve, Sickness, Alarm,
Shame, Joy, Envy, Despondency, Equanimity, Unsteadiness, De-
bility, Painful Reflection, and Debate.

COM3IEBTABY.

a. Among these, * Self-disparagement* (nirvveda — § 169 ').

Text.

No. 170. Self-disparagement consists in a dis-esteeming of oneself
in consequence of arriving at the knowledge of the Truth — that the
world is an illusion and Cod alone is the real existence, or in consequence
of calamity, or of bitter jealousy, — this leading to depression (§ 172),
painful reflection (§ 201), tears, sighs of expiration, ohanges of colour,
and sighs of inspiration.

Commektaby.

<*. Among these varieties of self-disparagement, the self-dis^^
nient resulting from a knowledge of the truth, or rather from that
***** preparatory thereto, called vair&gga, which map he translated
* A wvmh-mindtdnessj mag he illustrated as follows t—

The Mirror of Composition .

“ Alas ! I have pounded down a conch-shell with convolutions from
left to right, %wishing to mend a chink left in an earthen jar by a
grain of sand, for I have devoted and sacrificed my divine nature of
Man to the illusive enjoyments of the world”

Text.

Finny. No. 171. 4 Flurry’ (dvega — § 169 — ) means dis-

turbance. When it is occasioned by rain, it is shown in the shape of
distress in the limbs ; when occasioned by some portentous phenomenon,
it shows itself as petrifaction of the limbs ; when occasioned by fire, as
perplexity about smoke, &c. ; when occasioned by the invasion, &c. of
a hostile king , flurry is manifested in the getting ready one V weapons
and elephants, &c. ; when occasioned by wild or excited elephants or
the like, it is shown in paralysis, trembling, <fcc. ; when occasioned by
the wind, it appears as perplexity about dust, &c. ; when occasioned
by something desirable, it appears as rejoicings ; and when occasioned
by something undesirable, as grievings ; — and so its other modifications
are to be understood according to circumstances.

Commentary.

a: Among these, there may be Tlwry occasioned by an enemy ; —
as for example in the Maghuvans'a y cdkto 11, v. 69.

“ He, not regarding th^king, who was calling out 4 Hail ! hail P kept
fixed in the direction of Bharata’s elder brother his glance which flashed
flames of wrath against the Kshattras, whilst the eye-balls fiercely
projected.”

6. Examples of the others may be inferred according to this sam-
ple of illustration , which may therefore suffice .

c. Next of 4 Depression* (dainya — § 169j.

Text.

Depression. No. 172. Depression, arising from misfortune,

Ac., is a lacklustreness which shows itself in squalor, <fcc.

Commentary.

a. For example:—

44 The husband, old and blind, reclines on the bedste&d ; of the
hquse only the posts remain ; the rainy season is at hand, and there is
no g6od news of the son. The jar containing the carefully collected

* Such a conch-shell is believed to ensure prosperity to the house in which it
remains,

The Minor of Composition .

oil-drops broken ; — so, looking sorrowfully at her daughter-in-law
weak through pregnancy, the mother-in-law takes a good long cry.”
b . Next of i weariness’ (s'rama — § 169).

Text.

Weariness. No. 173. Weariness is fatigue, arising from indul-

gence, travel, &c., and occasioning sighing, drowsiness, Ac.

Commentary.

a . For example: —

“ Tender as the Acacia Sirisa, straightway, when yet close to the
city, having gone hastily but three or four steps, Sit£ caused the first
tears to fall from the eyes of Rama — unmoved by any thought of his
own hwd fate — by exclaiming many a time, u Oh — how far is it that we
have to go P”

b. Next of ‘ Intoxication'(wWa — § 169).

Text.

Intoxication, No. 174. ‘ Intoxication’ is a combination of

and its effects on c0tl f us i on and delight occasioned by the employment

diiloront cliarac- ° .

tors. of wine. By this, the best kind of man is put to

sleep ; while your middling description of man laughs and sings, and he

that is of the baser sort talks ruSely and blubbers.

Commentary.

a . For example — take a verse from Magha, canto 10, v. 12.

“ The joke was a-foot, entertaining through the invention of indirect
witty speeches, ludicrously revealing profound secrets, on the part of
dames brilliantly elevated by triple draughts* of wine.

b. Next of 1 Stupefaction’ (jadatd—§ 169).

Text.

Stupefaction. No. 175. Let ‘ Stupefaction' signify incapacity for
action, occasioned, for example, by seeing, or hearing, anything ex-
tremely agreeable or disagreeable. In this case there is a gazing with
unwinking eyes, silence, &c.

Commentary.

a. For example, in the following verses from my Prakiit poem the
1 Adventures of Kuvalayas wa.’

“ Then the youthful pair, separated, only stood for a moment with

* Here, for rea ^ s

100 The Jtfirror of Composition.

their eyes, dull with weeping, mutually fixed oh one another, ,as if they
were figures in a painting.”

b. Next of*‘ Sternness* ( ugrat&~$ 169).

Text.

Sternness. No. 176. Let ‘ Sternness’ he the harshness which

arises from rude valour, or from another's offences, Ac. In this case
we have perspiration, shaking of the head, reviling, striking, &c.

CoMMEKTABY.

a. For example — see the sternness of Mddhava , — Act F, — ad-
dressing Aghoraghanfa who was going to immolate Mdlati.

“ On the head of thee who hast raised the sword, for destruction,
against that body which shrinks even from the blows of a soft
* sirisha’ -flower, where the sentiment associated with the blows is no
other than the sportive humour of an affectionate female friend, may
this my arm fall like the mace of Yama the god of death , untimely
to take thee to the infernal regions.

b. Next of ‘Distraction’ (moha — § 169).

Text.

Distraction. No. 177. By ‘Distraction’ is meant perplexity,
arising from fear, or grief, or impetuosity, or painful recollection,—
causing giddiness, falls, staggerings, failure of sight, &c.

COMMENTABY.

a . For example — see the Kumar a-sambhava, canto 3, v . 73.

“The goddess of love was for a moment as it were benefited by the

distraction arising from this sharp affliction, which paralysed the action
of her faculties, — she being thus, for the moment , unconscious of her
husband’s fate.”

b. Next of ‘Awaking’ ( vibodha—§ 169).

Text.

Awaking. No. 178. 1 Awaking’ means the return of con-

. sciousness, from causes that remove sleep, and occasioning yawns,
stretching of limbs, twinkling of the eyes, and the reviewing of one’s
limbs — a process the more strictly consequential if the person awaking
be a Ved/mti who believes that his limbs cease to ewist when he ceases to
think of them .

The Mirror of Compqsition. 101

COMMENTARY.

a, For example : —

i( These women, keeping their bodies unmoved in orMr not to awake
their husbands, having been, though the last to tall asleep, yet the first
to awake, do not even unclasp the circling embrace of the listless
arms of their lovers enjoying repose after the lassitude consequent on
long indulgence.* *

b. Next of ( Dreaming* (swapna — § 169).

Text.

Dreaming. No. 179. But ‘ Dreaming* is a sleeping person’s,

• notion of objects, which is a cause of anger, or of agitation, or fear, or
debility, or joy, or grief, &c.

Commentary.

a. For example — Meglia-duta , v. 106.

“ Frequently indeed do the tear-drops of the deities of the spot fall,
large as pearls, on the buds of the trees, as they behold me with arms
outstretched in empty space for the sake of stringently embracing
thee whom I fondly imagine myself to have obtained somehow or other
in the visions of a dream !”

b. Next of 4 Dementedness’ (apasmdra — § 169).

Text.

Domentedness. No. 180. But by * Dementedness’ is meant a dis-
turbance of mind occasioned by such a thing as the influence of one
of the planets ; — this leading to falls, tremblings, perspiration, foam-
ings at the mouth, slavering, &c.

Commentary.

a. For example : look at the ocean as described by Mdgha , canto 3,
v, 72.

“ He doubted whether the Lord of the Rivers i. e. the Ocean , clinging
to the earth, foaming, and roaring, and tossing high his huge waves
like wanton arms, were not one possessed.”

b. Next of * Arrogance* (garvva — § 169).

Text.

Arrogance. No. 181. c Arrogance* is pride arising from valour,

or beauty, or learning, or greatness of family, &c., and leading to acts of
disrespect, coquettish displays of the person, immodesty, <fcc.

Commentary.

For example — Mahdbhdrata —

102

The Mirror of Composition.

" Whilst I bear arms, what need of other weapons ? What is not
achieved by my weapon, by whom will it be achieved ?”
b. Next of * Death* (mar ana — § 169).

Text.

Death. No. 182. * Death* is the quitting of life, this

being occasioned by weapons or otherwise, and leading to tlie falling
down of the body, &c.

Commentary.

a. For example, JRaghuvans'a , canto 11. v. 20.

“ Wounded in the heart by the irresistible arrow of that Cupid
Rdma, the female fiend departed to the dwelling of Life’s lord — viz.
the god of death — being sprinkled with her ill smelling blood as a
woman going to the dwelling of her life's lord or lover , is sprinkled
with sweetly smelling sandalwood unguent.”

b . Next of* Indolence* (dlasya — § 169).

* Text.

Indolenoe. No. 183. * Indolence’ is an aversion to movement,

this being occasioned by fatigue, or pregnancy, &c., and being a cause
of yawning, continuing seated, &e.

Commentary.

a. For example : —

“ She no longer adorns her person, nor does she converse with her
female friend, but, indolent, through the load of pregnancy, the girl,
long seated, yawns.’*

b. Next of ‘ Impatience of opposition’ (< amarsha — § 169),

Tujjp.

Impatience of No. 184. ‘Impatience of* opposition’ is a deter*
opposition. mination of purpose occasioned by censure, abuse,

disrespect, <fcc., and leading to redness of the eyes, shaking of the head,
knitting of the'brows, violent abuse, &c.

Commentary.

a. For example, (Yira Charita, Act III) : —

41 1 will perform penance for having acted otherwise than I ought
towards you — worthy of all honour as you are ; — but still I will not
belie my great vow of taking arms in tamely suffering the insult
offered to me by Bdma, breaking , as he did , the bow of my divine
preceptor.

b. Next of ‘ Drowsiness* ( nidrd — § 169).

108

The Mirror of Composition.

Text.

Drowsiness. No. 185. * Drowsiness 1 is a contraction of the

mental faculties, occasioned by fatigue, exhaustion, intoxication, Ac.,
and causing yawning, closing of the eyes, deep inspirations, relaxation,
of the muscles, Ac.

COMMENTARY.

a. For example

“ She is as it were pictured in my heart, with her eyes half closed
through drowsiness, as she uttered words partly with sense anci partly
unmeaning, in which the syllables were languidly articulated.”

b. Next of ‘ Dissembling’ (avahitthd — § 169).

7 Text.

Dissembling. No. 18G. ‘ Dissembling* is the hiding o £ appear-

ances of joy^ Ac., this being caused by fear, or dignified importance, or
modesty, Ac., and leading to employment in some other matter, or to
language or looks, Ac., directed otherwise than to that in regard to
ichich concealment of sentiment is aimed at.

* Commentary.

a. For example — Kumdra-sambhava, canto 6, v . 84,

“ Whilst thus the divine sage spoke, Parvatf, at her father’s side,
holding down her head, counted the leaves of the lotus with which she
played,”

b. Next of ‘ Longing’ (autsukya — §169).

TexTv

Longing, No. 187. ‘ Longing’ is impatience of the lapse

of time, occasioned by* the non-attainment of a desired object, and
causing mental fever, hastiness, perspiration, long sighs, Ac.

Commentary.

а. For example : —

“ There is that very husband who gained rne as a girl, and those
same April nights, and the bold breezes wafting perfume from the
Naucleas, and fragrant with the odours of the full-blown jasmine — and
I too am the same : — but still my heart longs for the sportive doings,
in the shape oftoyings, under the ratan-trees on the banks of the
Reva.”

б. What the author of the Kdvya-prakds'a says in regard to this
passage — already remarked upon under § 2. p, 7 that the main thing

104

The Mirror of Composition.

in it is the Flavour, — this is to be regarded as superfluous, because
an * Accessory,’ such as is exemplified in the present instance , is entitled
(see § 47) to be called a ‘ Flavour,’ since it is associated with the property
of flavouring, — and therefore there was no occasion , tautologically , to
make the assertion — true though it he.
c . Next ofiHOeraogement’ ( unmdda — § 169).

Text.

Derangement. No. 188. ‘ Derangement’ is a confusion of thought,
arising from love, or grief, or fear, &c., and giving rise to inappro-
priate laughter, or weeping, or singing, or absurd talking, &q.

Commentary.

a, Fjor example : — take these verses of mine : —

“Brother bee! whilst wandering everywhere, hast thou seen her
who is dearer to me than my life ?” (Having attenSed to the
humming of the bee, which sounds like the Sanskrit word om * yes’ — the
speaker continues joyfully — ) “What! — dost.thou say ‘yes’? Then
quickly tell me, friend, what is she doing, and where is ghe, and how ?”
h . Next of ‘ Apprehension’ ( s'ankd — § 169).

Text.

Apprehension. No. 189. ‘ Apprehension’ is the anticipation of

evil from the cruelty of another, or from one’s own misconduct, &c.,
this leading to changes of colour, trembling, side-looks, and dryness of
the mouth.

CommU#tary.

a . For example : — take these verses of mine : —

“ Apprehensive of discovery , at dawn, she long applies the sandalwood
unguent to her limbs scratched by her lover ; she applies again and
again the red 2ye to her lip wounded by his teeth, — the tender-limbed
one all the. while startledly casting her eyes around.”
h. Next of 1 Recollection* (smriti — § 169).

T?xt.

Becollection. No. 190. What is called < Recollection* is know-
ledge having as its object something previously cognized, this being ex-
cited by such causes as our perceiving or thinking of something similar,
and lending to a raising of the brows, &c\

The Mirror of Composition.

105

COMMENTARY.

a For example : — take these verses of mine : —

“ 0 how well I recollect that ever? smiling face of the lotus-
eyed one, bashfully held down on seeing her fcma# friend smiling,
when I, artfully directing my eyes somewhat in some direction, in
some measure caught her eye, which would not consent t^ieet my direct
glance , — that eye of hers the pupil of which was dilated in a sidelong
fashion, as she stole what she fancied an unobserved look at me /”

b. Next of ‘ Resolve* (mati — § 1G0).

Text.

Resolve. No. 191. 1 Resolve’ consists in making up one’s

mind upon a point by attention to the rules of morality, Ac., whence
there arise smiles, confidence and delight, and self-satisfiedness.

* Commentary.

a. For example — (S' akunfald, Act I.)

* Undoubtedly she is fit to be married by a Kshattriya, because
virtuous mind is enamoured of her. For in all doubtful points the
dictates of the conscience are the guide of the virtuous.”

b. Next of 4 Sickness’ (vyddhi — § 169).

Text.

Sickness. No. 192. ‘ Sickness’ means a fever, for example,

arising from humours, Ac., and causing a wish to lie on the ground, or
causing trembling, Ac.

Commentary.

a. When this consists of inflammation, as in fever, then there is
a wish to lie on the cord earth, Ac. When it consists of cold, as in
agues , then there are tremblings, Ac. .Examples of this are evident
and need not be here cited .

. b. Next of 4 Alarm’ (trd$a—§ 169 j.

Text.

Alarm, No. 193. 4 Alarm,’ occasioned by thunder, light-

ning, meteors, Ac., causes tremblings, Ac.

Commentary.

a. For example, Kir&tdrjuniya } canto 8 . v , 45.

44 When touched gently on the thighs by the fishes that were gliding
about, the nymphs, with their eyes rolling in alarm, and with their

108. The Mirror of Composition .

hands like the tender leaf quivering, attracted the look even of their
female companions.
b . Next of 4 Shame* ( vridi — § 169).

+ Text.

Shame. No. 194. ‘Shame’ is the absence of boldness,

causing the to hang down, Ac., in consequence of misconduct.

, Commentary.

a. For example : —

“ 0 how well I recollect” Sfc. (see § 190. a.)

b. Next of * Joy’ (harsha — § 169).

Text.

. Joy. No. 195. But ‘Joy* is mental complacency, on

the attainment of a desired object, which occasions tears and sobbings,

Ac.

Commentary.

a . For example : —

u Having long gazed on the countenance of his son, as a poor man
gazes on that of a treasure-jar, the father, through the joy of his soul,
could scarcely be contained in fiis body, like the ocean swelling up in
full tide on the rise of the moon, which the ocean regards with a
parental feeling, --the moon having, it is said, been produced by the
churning of the ocean

b. Next of 4 Envy’ (asuyd — § 169).

Text.

•Envy, No. 196. ‘ E*v.y ’ is impatience of another’s merits

and prosperity, arising from pride, and leitding to the inveighing
against faults, frowns, disrespect, signs of anger, Ac.

Commentary.

Ti* For example— Magha, canto 15. t?. 1 .

“ Well, the lord of Chedi (S'is'upala) could not endure the honour
shown in that assembly by the son of Pandu ( Yuddhishfhira) to the
enemy of Madhu, (Krishna,) for ttft mind of the arrogant is intolerant
of another’s advancement.”
b f Next of* Despondency’ (vishida — § 169).

Text.

Despondency. No. 197. But 4 Despondency’ is a loss of vigour

107

The Mirror oj Composition .

—arising from the absence of expedients to meet impending calamity,
causing panting and sighing, and distress, and a seeking for aid, Ac.

Commentary.

a . For example — my verses : —

“ This thy top-knot, formed of a close twisted bunchfltf hair, while,
like an iron rod, it breaks my heart, like a black snake^^ bites it.”

1. Next of fi Equanimity’ ( dhriti — § 169).

Text.

Equanimity. No 198. But 4 Equanimity* is complete content-
ment, arising from true knowledge, or from the arrival of a desired
object, <fyc. ; conducing to the production of amiable discourse, to cheer-
ful liveliness, Ac.

Commentary.

a. For example, my picture of a reformed reprobate : —

^After having long oppressed j;he poor, and waged a war of alter-
cation With my own people, and given no regard to the heavy punish-
ments of another life — now, forsooth, this same body, for which I had
collected stores of wealth, has its wants satisfied by a handful of wild
rice.”

b. Next of * Unsteadiness’ ( cliapalatA — § 169).

Text.

Unsteadiness. No. 199. But ‘Unsteadiness’ is an instability
arising from envy, aversion, desire, Ac., and causing abuse, harsh lan-
guage, and self-willedness, Ac.

, Commentary.

a. For example — a lady reproves , in the following address to a bee ,
the unsteadiness of her own fickle lover in going after a younger
mistress.

44 0 bee ! amuse your wanton mind with other flower-stalks that can
bear your handling. Why dost thou prematurely and unprofitably
render useless the young juiceless bud of the unblown jasmine P”

b. Next of * Debility* (glani— § 169),

Text.

Dobility. No. 200. 4 Debility’ is an unliveliness resulting

from enjoyment, or fatigue, or sorrow, hunger, thirst, Ac , and causing
tremblings, emaciation, inactivity, Ac.

p 2

108 The Mirror of Composition .

Commentary.

a. For example — TJttara-rhma-charita : —

“ Long and bitter sorrow, withering her heart’s flower like a tender
young shoot severed from the stem, debilitates her pale and delicate
frame as the^^umnal heat the inner leaves of the 4 ketak!.’

b . Next Sff?aintul reflection’ (chinta—% 169).

Text.

Painful refleo- No. 201. 4 Painful reflection’ is meditation aris-

ing from the non-possession of a beloved object, pro-
ducing desolateness, sighs, and feverishness.

Commentary.

a. For example — my verses : —

44 Leaning thy cheek upon thy hand, and thus, in appearance , joining
with the expanded lotus its enemy the moon, what dost thou mourn-
fully revolve, fair one, in thine inmost heart ?”

b. Next of 4 Debate’ ( vitarJca — § 169).

Text.

Debate. No. 202. ‘Debate’ is discussion, originating in

doubt, and causing one to shake the brows, the head, or the finger.

Commentary.

a . For example : —

“ What,— has he been stopped by some lover?” &c. (see § 121. a.)

b. And as for the statement—*^ § 168— that

Others than

t^ 8 °definition^of these thirty-three are kinds of 4 Accessory,’— this was
an Accessory.

mese Liurty-turee are ojuiubu* auuubbu j j, — vuid

intended to include also things analogous ; the author
therefore proceeds to remark as follows : —

Text.

No. 203. * Love,’ also (§ 200,) &c., in reference to several of tho
Flavours, may be ‘ Accessories’ (§ 202. b).

Commentary.

a. To explain when the flavour is, for example, the ‘ Erotic’
(§ 210,) ‘ love’ alone — of all the permanent conditions — § 206 — is denot-
ed by the term ‘permanent,’ because this must remain— being indispen-
sable ; while ‘ mirth ’ — another of the permanent conditions — § 206,—
on the other hand, when it occurs in the course of an erotic composition ,
is merely an ‘ Accessory,’ because the definition of an ‘Accessory’ (wo

109

The Mirror of Composition .

§ 202. h.) — applies to it, — the comic element , where not the principal
one , serving, in 4 Romeo and Juliet' for example , to enhance the effect
of the erotic .

i. This has been declared — by the Dhwanikdra — (as already re~
marked under § 32. c. ) as follows : — ~ 14 Only when inseparably per-
manent in the Flavour of anff given composition , djfl^a 4 condition’
(bhdva) take rank as the permanent one” ( — § 205).

c. Then in respect of what Flavour may what * conditions* perma-
nent, when principal, serve as 4 Accessories ?’ To this he replies : —

Text.

Which Flavours No. 204. In the 4 Erotic* and the 4 Heroic*
mfty sorvo as Ac-
cessories to which. (§ 209,) 4 Mirth* (§ 206 ) — is an appropriate Acces-
sory, and so in the 4 Heroic’ is 4 Resentment’ held to he : — then, again, in
the 4 Quietistic’ — § 209, 4 Disgust* (§ 20G) is declared to be an Accessory.
The rest, besides this, may be inferred, for themselves, by those who
can weigh their thoughts.

Commentary.

a. Now of the 4 permanent conditions’ (sthayi-bhAva).

* Text.

A permanonfc No. 205. That condition which neither those
condition defined. a kin to it nor those opposed to it can overpower, — the
rout of the sprout of Gustation (§ 44 b.), this is held to be the 4 perma-
nent condition,’ or main sentiment of the composition .

Commentary.

a. As is declared by the Dhwanikdra — 44 This permanent conditidh,
running through the other conditions like the thread of a garland, is
not overpowered by them but only reinforced.”

b . He enumerates the divisions thereof.

Text.

Jhoponnanent No. 206^ 4 Love’ or 4 Desire ’ (rati), ‘Mirth*
morafced. 6nU " (hdsa), ‘Sorrow’ (s' oka), 4 Resentment’ (krodka),

1 Magnanimity’ ( utsdha ), 4 Terror’ (bhaya ), 4 Disgust’ (jugupsd), and
‘ Surprise* (vismaya), —thus there are eight permanent conditions and
there is also ‘Quietism’ (s'ama).

Commentary.

ff. Among these—

110 The Mirror of Composition.

Text.

No. 207. 4 Love* is a tendency of the mind towards a thing that is
conformable to the mind ; by 4 Mirth’ is intended an expansion of the
mind excited by absurdity of expression, Ac. ; what is designated by
the word ‘ Sorrnw’ is a commotion of the mind occasioned by the loss
of a beloved <S^ct, Ac. ; by 4 Resentment’ is meant a feeling of sharp-
ness towards opponents ; what is called * Magnanimity’ is a steady
audacity where any action has been entered upon ; but 4 Terror/ oc-
casioning disturbance of mind, is what is produced by the power of
what is terrific \ 4 Disgust’ is aversion, arising in respect of any object,
from seeing or otherwise perceiving in it what is offensive ; but what is
meant by 4 Surprise’ is an agitation of mind in regard to strange things
that transcend the limits of the mundane ; ‘Quietism’ is the happiness
arising from the repose of the soul in a state of indifference to tho
transitory concerns of time”

Commentary.

a . For example, — in the play o/^Malati and M&dhava,’ the per-
manent condition is 4 Love in the 4 Nataka-melaka,* 4 Mirth in the
4 Ramayana,’ 4 Sorrow in the 4 Mahdbharata/ 4 Quietism.’ And so of
the others.

Why these con- ft. these ednditions are called permanent, be-

ditiona are called

permanent. cause these are ascertained, by the direct cognizance

of men of taste, to be not destroyed, but on the contrary just reinforced,
by other conditions, among these above enumerated , occurring, whether
these be akin to or opposed to that one which happens to he the main
sentiment.

c. Moreover—

Text.

No. 208. These, — the 4 permanent’ (§ 206), the 4 accessory’ (§ 168),
and the 4 involuntary’ (§ 166),— are therefore called 4 bhava’ (which m
have rendered 4 condition')— because they give occasion foe the e>
istence OF (bkdvayanti) the 4 Flavours’ which depend upon the various
gestures or other indications of passion on the part of the actors.

Commentaby.

a . v As is declared as follows by the Dhwanihdra — 44 A 4 condition’
(Ihdva) consists in, or takes the name it does, in virtue of the causing

Ill

The Mirror of Composition.

of this Flavour to take place, through joy or sorrow or other things.”
h. Now he states the divisions of * Flavour.*

* Text.

Tho Flavours No. 209. The * Erotic’ ( s , ringdra) ) the i Comic*

enumerated, (hdsya), the ‘ bathetic* (Jcaruna ), the 4 Furious* ( rau-

dra), the * Heroic* (vira ), the i Terrible’ ( bhaydnaka ), tne 4 Disgustful*.
(bibhatsa ), and the Marvellous (adbhuta) : these eight are ‘Flavours’ ;
and so is the t Quietistie’ (s'dnta) held to be by some.

COMMENTARY.

a. Of these, tho ‘ Erotic’ is first to be discussed

Text.

Tho Erotic No. 210. By sjinga — literally a ‘ horn — which

described. sprouts from the head of a bull as a plant does from

the earth — is meant the budding of love ; and by the word s ring dr a

from ‘ s ring am richchhati / it has the horn for its cause — is meant

that ‘ Flavour,’ generally most manifest in the noblest natures, which
has for its condition the coming on or existence thereof — for one devoid
of that sentiment cannot enjoy it. In this case let the substantial in-
gredients(§ 03) be the heroines,— excluding another’s wife, and a cour-
tezan if not honestly enamoured, (§ 111), and the heroes, the ‘ impartial*
&c. (§ 70.) The moon, sandalwood ointment, the hum of bees, &c are
held to be ‘ enhancers’ (§ 160.) Motions of the eyebrows, and side-
glances, &c.,are found as its symptoms ; and its ‘ accessories’ may be
any (§ 169) except ‘ Sternness,’ ‘Death/ ‘ Indolence/ and ‘Disgust.’
Here the 1 permanent’ condition (§ 206) is ‘ Love /— and — according to
the fancy of the mythologists it is black-coloured, and its deity is
Vishnu — who in his incarnation as the amorous Krishna was remarkable
for the darkness of his colour .

Commentary.

a. For an example — we have a case of the ‘ Erotic in t he verses
quoted under § 3. J., beginning —

“ Perceiving that the house was empty,” &c.

I . Here a hu|band of the just-mentioned description, and a girl of
the just-mentioned description, are the two ‘ substantial excitants
(§ 63 ;) the empty house is an enhancing 1 excitant/ (§ 160) ; the kissing
is an ‘ensuant* (§ 32 ;) the baslifulness and. the mirth are ‘ accessories*
(§194 and 203 ;) - the condition of love, developed by all these in a

112

The Mirror of Composition,

man of taste, assumes the nature of wliat we call the ' Erotic’ Flavour .
c. Ho mentions the divisions of this * Erotic' flavour*

Text.

The Erotic No. 211. Now, it is held to he of two kinds, viz.,
1 separation* and * union.* „

subdivided.

Commentary.

a. Of these two — he describes the former.

Text.

Lovoinsepara- No, 212. But where excessive love doc3 not
tl0n# attain the beloved object, this is ‘ separation.*

Commentary.

a, ‘ The beloved object’ — i. e. the hero or the heroine*

Text.

This subdi- No. 213. And let this love in separation be of

vido<i * four kinds, — consisting of ( 1) * affection arising before

the ^parties meet’ (pfirva-rdga) , (2) ‘indignation* (mdna), (3) ‘the
being abroad* (pravdsa), and (4) the * sorrow* (karund) of one who
has no hope of a re-union which yet is destined to take place .

Commentary.

a . Among these four —

Text.

Love between No. 214. What is called 1 affection arising before

persons yet stran- .

gerstoeach other, the parties meet — i. e. while the parties are stran-
gers to one another y — is the peculiar condition which belongs, before
they have attained their wishes, to two persons mutually enamoured
through having heard of or seen one another. And here the hearing
may be from the mouth of a messenger, or a bard, or a female
friend ; and the seeing may be by magic-r-a$ when Cornelius Agrippa ,
with his mirror , showed to Surrey tte lady Geraldine^ — or in a
picture, or face to face, or in a dream. In such a case the following
ten are the conditions of love, viz. longing, thoughtfulness, remi-
niscence, the mentioning the qualities of the loved ^ne, anxiety, and
discourse where the person addressed is, not, confusion of mind,
sickness, stupefaction, and death. By ‘ longing* we mean wishing ;

‘ thoughtfulness* means the thinking about tl^e means of attainment,
Ac, ^ and ‘confusion of mind* means the not distinguishing even

113

The Mirror of Composition.

between intelligent beings and tilings unintelligent. Let 4 discourse
where the person addressed is not’ mean ravings, resulting from ex-
treme confusion of mind. But 1 sickness’ means long sighs, paleness,
emaciation, <fec. 4 Stupefaction’ means an incapability of action whe-
ther bodily or mental.

The effects of COMMENTARY.

love, under such a ^j 10 res ^ j g p] a j n> Now f or examples in their
circum stances, ex- * 1 1

emplified. order.

“ May those naturally sweet, loving, and affectionate ways of the
fair-eyed one be all mine own, from which, in our interviews, great love
"has arisen, — on the very imagining of which for a moment as possible,
my heart dissolves in a flood of joy, so that the action of my external
organs is stopped short.”

Here we see ‘the 4 longing’ of Madhava — Act V '. — who has become
enamoured through seeing Malatf face to lace.

b. “ 4 How shall I see the fatfn-eved maid, the god of love’s very
treasure ?’ Thus disturbed by thoughtfulness, the lover all night
long goes not to sleep.”

Here we have the 4 thoughtfulness’ of a lover who has become ena-
moured through seeing a certain heroine by means of magic. — The
distich is mine.

c. In the verses, beginning, 44 0 how well I recollect that ever-
smiling face !” (§ 190 a .), we have a lover’s 4 reminiscence.’

d. In the example (§ 100. e) beginning “Her two eyes shaming
the wagtail,” — we have the 4 mentioning of the qualities’ of the loved
one.

e. In the passage (§ 117. a.) beginning 4< She utters sighs,” 4 anxiety 1
is exemplified.

f “ When a third part ojfthe night remained, having for a mo-
ment closed her eyes, she used suddenly to wake up. Exclaiming
aimlessly 4 Where art thou going, S'iva ?’ — she Tdasped her arms around
no real neck.”

Here — Kurndra Sambhava , canto V. v . 57— we have 4 discourse
where the persotf addressed is not.’

y. In the example (§ 188. a.) beginning 44 Brother bee !” — we have
* confusion of mind 1 ’ such that the speaker addresses an unintelligent
creature .

114

The Mirror of Composition.

h. “ Thy face pale and thin, thy heart impassioned and thy body
weak, — all this, my friend, markedly indicates an incurable disorder in
thy heart.”

Heie we see the ‘ sickness^ of lovers.

i. “ Her every limb is motionless — stretched on the couch of lotus-
leaves ; the number ot her long deep sighs alone proves that she yet
lives.”

Here we have ‘ stupefaction.’ The example is my own.

Text.

Death— nnder N 215.. ‘ Death’ whirih, as mentioned at 8 214,

what circuni- ’ *

stances an im- 'is a condition to which one may he brought hg love ,

snbjcct'of descrip- 110 1 described in poetry and the drama , where the
tion. other conditions , such as 1 anxiety ’ are constantly

described, because it — instead of enhancing— causes the destruction of
‘ Flavour.’ But it may be spoken of (1) as having nearly taken place,
or (2) as being mentally wished ' for ; and it is with propriety
described (3) if there is to be, at no distant date, a restoration to life.

; COMMENTAIlY.

a. The first of these cases may he exemplified as follows

“With difficulty was that slender sufferer able to retain the vital
spirit when she beheld at midnight the expanded Nyctanthes, the
harbinger of spring, hut now when she hears the crowing of the cocks,
awaking her from the visions of the night to the consciousness of
desolation,— l know not what will become of her.”

Ik Then the second case, for example

“ The bees may fill every quarter with the sound of their hum-
mings ; and the breeze rising whene there are the groves of sandalwood,
mav gently approach ; the playful tame cuckoos on the inango-top may
make their musical note— the fifth, or dominant , according to musi-
cal authorities— hut may my vital spirit, hard as adamant, quickly go
from me, — let it begorfe”.

These two examples are my own.

c. There is an example of the third case, in the story of M ah^s'weta,
and Pundarika, in the ‘ Kadambari and this variety, as we shall
mention under § 224. a . is a ease of pathetic separation. '

d. But some, not accepting the list given under § 214, say that the
ten conditions of love are in the following ascending series (1) in
the first place fondness on exchanging glances, (2) union of minds,

The Mirror of Composition . 115

(3) then thoughtfulness, (4) sleeplessness, (5) growing thin, (6) neglect
of all objects, (7) abandonment of shame, (8) distraction, (9) insensi-
bility, and X10) death.

e. And here i. e. in the case of there being an affection arising
between parties yet strangers to one another , — the following is to be
attended to .

Text.

Theory that the No. 210. Let the passion of the lady be first
bcsfc'on^tho °part mentioned, and that of the gentleman as resulting
oi' Ike lady . from her proceedings.

Commentary.

a. The proceedings of women in love have been mentioned (§ 155).
The rule laid down in the text is to be followed , as in the Katn&vali
the passion of Sagariku and the king of Vatsa is described the lady
being therfthe first smitten. Although the gentleman may be ti e
first to fall in love, yet the deleetability is greater, when the thing is
arranged thus as directed in the text.

Text:

No. 217. And ‘affection arising before the parties meet/ is of
three kinds, named fancifully after, (1) the indigo, (2) the safllower,
and (3) the madder. That fondness which makes no great show, and
which yet, when it has come into the mind, does not depart, they call
the indigo love — the indigo being a colour that will well stand wash-
ing ; — such was the love of Kama and Si ta. They call that the
safflower love which shines but departs — like the dye of sajjlower
which fades in the washing. They call that the madder love which
does not depart, and which does shine.

Commentary.

a. Next of ‘indignation* (mdna,— the second of the conditions of
the separation of lovers,— § 2ltf).

Text.

Lovere’ quar- No. 218. 1 indignation* means anger. But this

rels ’ is of two kinds, (1) arising from loudness, or (2 ) from

jealousy. Let that anger be ‘indignation from fondness/ which, with-
out a^y cause, through the capricious waywardness of affection, takes
place in the case of two, even when there is very great love between
them.

116

The Mirror of Composition .

Commentary.

Arising from a. * Of two,’ — i. e. of the hero and of the heroine.
tonness° l <rf aflfco- Of each of these is the ‘ indignation arising from
tion. fondness* to be described. There is, for example,

that of the hero a feeling to he asleep , and addressed upon the point
as follows.

“ 0 my lord, that affeetest to be asleep, with thine eyes firmly
closed, yet with thy body quivering as I kiss thy cheek, — do give me
room,— 'I wont delay again.”

b . On the part of the heroine — as, in the Kumdra Sambhava , #
canto VIII on the occasion of the description of evening.

c . And this affected indignation mag be on .both sides, for ex-
ample.

“ Of the two indignant ones, fondly angry, and pretending to be both
asleep, kept apart by indignation, and listening with checked and sup-
pressed breathing, which is the stronger and will hold out the longest V

d . Or, for example. *

“ Of the spouses, on one and the same couch, silently longing for
each othe)\ but with averted faces doggedly keeping up their dignity,
though reconcilement was in the heart of each sev erally, — when gently
.by the moving of the corners of the eyes their eyes had met, — the
contest of indignation was broken up, and with laughter was there
quickly a close embracing of necks.”*

An exceptional e - when this distance of behaviour through

oaae, where zeet indignation cannot be kept up by the lady until
is thus only added J * ?

to love in union. conciliation, then the case is one, not of a species ot

separation (§ 212 and 213,) butf*of a condition called jealousy which

maybe an accessory and enhancer of love in tinton. For example :

« EveA when I get up a frown, my eyes look at him the more long-
ingly ; and when I check my voice, this confounded face of mine gets
a smile on it ; when my mind is bent on severity, my body falls into
a thrill of delight; — how can I keep up my indignation, when I see
this person whom it is in vain to be angry with , ill as he may behave
himself ?”

* This example which is superfluous seems to be an interpolation ; it is not
given in my MS. of the text, nor referred to in the commentary. P. M.

The Mirror of Composition. 117

Text.

Where there is No. 219. When the husband’s attachment to
ground for jea- , . . . ,

lousy. some other loved one is seen, or inferred, or heard

of, let the lady’s indignation be that of jealousy (§ 218). But, among

•these three cases, inference— for the cases of ocular demonstration and

testimony require no subdivision — is of three kinds, inasmuch as it

may result from (J) behaviour on starting out of sleep, or (2) signs

of dalliance, or (3) blurting out the name of the loved one in the

hearing of the jealous one .

Commentary.

Indignation at Among these cases enumerated in S 219,

open favour ,

allows to a rival, where it — the fondness shown a rival is SEEN ; for
example take the following from Mdgha , canto VII. v. 57.

<c When the lend one, with the breath of his mouth, removed the
pollen of the flower from the eye of the fair-eyed dame, both eyes of the
young rival wife were exceedingly filled witli the dust of indignation.”

b. Then again there is the case where it — the fondness shown to a
rival— § 219 — is inferred from signs of toying : — for example in the
Amarus' ataka —

“ Thou hidest with thy garment thy limbs newly marked by her
nails ; thou coverest also with thy hand the lip bitten by her tooth ;
but by what means can be concealed the odour of the fresh perfume
that creeps out in every direction from thy perspiring person pro-
claiming that thou hast been toying with another woman ?”

c. So in regard to other eases referred to in § 219, which do not
call for separate illustration .

Text.

Means of re- No. 220. Conciliation, division, presents, sub-
moving indig- ...

nation. mission, disregard, change of humour, — such are the

six expedients which the husband should employ in succession for the
removal thereof — «. e. of the lady's indignation. Among these six
expedients , what we mean by * conciliation’ is affectionate language ;
t division* is the gaining over of her female friend to the offender's
side; ‘presents’ should be of ornaments or the like, on some pretext ;
i submission’ means falling at Jut feet. But when * conciliation* and

118

The Mirror of Composition.

these others have failed, then let there be ‘ disregard' — i. e. neglect.
By a ‘ change of humour’ we moan the indignation’s being put to
flight by some sudden terror or joy, &c.

Commentary.

a. For example — *

“ I did not hearken to his fond speeches,* (fee. — see § 1 17. a.

In this example the five, beginning with ‘ conciliation, ’ are suggest-
ed, the matter ending in the gentleman's walking off with an affec-
tation of disregard. The ‘ change of humour* when sudden terror ,
for instance , causes the lady to forget her indignation , does not require
illustration , and may be imagined by the intelligent reader.

h. Now of 1 being abroad* § 213.

Text.

The separation No. 221. * Being abroad’ means being in a dif-

of lovers in dif- _ . .

ferent countries. ferent country, m consequence ot business, or a curse

launched by some deify , or a confusion in the midst oj which one of the

lovers is separated from the other. In this case what takes place is

filthiness of person and clothing, a head with a single braid into which

all the locks are gathered as a sign of mourning , sighs, sobs, weepings,

fallings on the ground, &c.

Commentary.

a. Moreover—

Text.

No. 222. There may be squalor of the person, feverj paleness,
emaciation, distaste for everything, languor, desolateness, the being
absorbed in the thought of her, frenzy, insensibility, and death such,
in their order, are to be understood 4o be the ten conditions of love in
this case of separation — § 221. ‘Squalor’ is the being beset with
filth; but ‘Fever’ is the sickness of separation; ‘ Distaste for every-
thing’ is indifference towards things ; ‘ Languor* is disinclination for
everything ; and what is 'called ‘ Desolateness’ is the vacancy of the
mind-; ‘The being absorbed in her’— i. e. she appears every where, both
without and within, — in the heart of the lover , in the beauty of the
flower , in the brightness of the moon , Sfc.

Commentary.

a. The rest is plain. These conditions are partly exemplified in
the following verses , for example, of my father.

119

The Mirror of Composition,

“ Her mind is paralysed by anxiety, her cheek rests on her hand,
her face is pale, as the morning moon, her lip is wearied with mere
sighing, her fever is not alleviated by the fresh leaves of the lotus or
the spray of the water, — who is her beloved, hard to be come at, who
.suffers to continue such a wretched state ?”

Text.

Separation may No. 223. Among these three kinds of exile —

be viewed as fu- , , . . . . . „ ,

lure, present, or (■§ let that wh;ch is in consequence of busi-

ness’ be of three kinds, vi?. future, present, and past.

Commentary.

a. Tliis threefold character belongs to that which is ‘ in consequence
of business,* because this is preceded by an understanding that the
exile is to take place , — whereas in the. case of a curse or of one s being
unexpectedly snatched away , there is no room for contemplating the
separation as something future . Among these there is the ‘ future* or
contemplated separation , as in my verses : —

“ 4 Fair one, I depart.’— ‘ Depart, 0 traveller.’ — ‘ Dear one, sorrow *
not in vain .’ — * Why should I sorrow at thy departure ‘ Nay why
then dost thou weep ?’ — ‘ Because thou departest not quickly’ — ‘ Why
tins thy haste to have me gone ?’ — ‘ Because great is the eagerness of
tliis my spirit along with thee to take its flight.’ ”

b. ‘Present’ separation , at the moment of its taking place, may be
exemplified as follows : —

“‘My bracelets have departed— thrown off as my husband takes his
departure ; my tears, which are friends of yours — O my vital spirit —
as being destined to be near you, while you remain on earth , — depart
from my eyes incessantly ; my composure rests not for a moment from
taking its departure ; — my intellect has resolved to go off' even before
him ; — thus all have set out together, since it was the resolution of
my best beloved to depart, — and as it is time to be gone, why, 0 my
vital spirit, dost thou forsake the company of these thy dear friends
and omit to depart at the same time ?

c ‘ Past’ separation — i. e. completed and continuing , — may be
exemplified as follows : —

“ Her mind is paralysed by anxiety,” Ac. (§ 222. a .)

d. Next . we may exemplify separation resulting from a * curse*
(§ 22 f,) for example : —

120 The Mirror of Composition.

“ Thou mayest recognise her,” &c. — § 110. d . — Megha-duta, v. 82.

e. ‘ A confusion’ which , in § 221, is specified as one, of the sources
of the separation of lovers, may arise from divine or human agency,
whirlwinds, earthquakes, or other portents. Take as an example the
separation oT Urvas'i and Puniravas, in the Vikramorvasi , Act &ih.

f Though the * longing,’ &c., which are mentioned under § 214*
as the conditions of * affection arising before the parties meet,’ and
personal ‘squalor,’ &c ,also, which are mentioned as belonging to these
cases of separation just treated of—§ 221 and 222 — might each serve
for either case with equal propriety, they have been distinctively set
forth here in conformity with ancient usage.

g. Next of the ‘sorrow’ — § 218 — of one who has no hope of a
reunion which yet is destined to take place.

Text.

Of lovers so- No. 22 1. Either of two young lovers being dead,
* and^yet^to^mcet an( l being yet to%e regained through some super, m-
a £ a * n * tural inter position , when the one left behind is sor-

rowful, then let it be called the ‘ separation of tender sadness.’

Commentary.

a . As, for example, in the Kadamban, in the story of Fundarika
and Mahas'wetd.

h . But if the lost one be not regainable, or regainable only after
transmigration in another body, the flavour is called the ‘ Pathetic
simply — there being , in this case , no room for any admixture of the
'Erotic'; — but in the ease just mentioned — bf Pundartka and Ma-
haswetdy immediately on Saraswati’s declaration from the sky that
the lovers should be reunited , there is the ‘ Erotic’ in its form of
* separation of tender sadness ,’ — for desire arises on the expectation of
reunion, but previously to Saraswati's promise * there was the
4 Pathetic* - such is the opinion of the competent authorities.

c. And as for what some say in regard to the case of Pundartka
and Mahds'wetdy that, “ moreover after the expectation of reunion
— excited by Saraswati's promise to that effect , — there is merely
your honour’s variety of ‘ love in absence* (§ 222) the one which you
call ‘being abroad’ (§ 221,)” — others hold it to be distinct, because

The Mirror of Composition , 121

of the presence of that distinction, dkatii — which is something else
than merely being abroad .

d. Next of ‘ love in union* (§ 211).

Text.

Love in union. No. 225. There is said to be 1 love in union* where
two lovers, mutually enamoured, are engaged in looking on one ano-
ther, touching one another, <fce.

Commentary.

a. By the *<fcc.’ is meant the mutual drinking, the nectar of each
others lips, kissing, See. For instance — " Perceiving that the house
‘was empty,” See . — see § 3. b.

Text.

No. ?2G. This i love in union* is, by the learned, asserted to be
one only, because, in consequence of its many varieties of kissing,
embracing, Ac. it would be impossible that they should be separately
reckoned. As accessories in regard to this, let there be the six seasons
with their several persuasives to loving fondness, the moon and the sun,
and so too their settings, gambols in the water, rambles in groves,
the morning, draughts of nectar, the night, &c., anointments and
adornments, Ac., and whatever else is pure and fair.

Commentary.

a. And to the same effect, Bharata declares — “ whatever in the
world is pure, and fair, and bright and sightly, all such suits with the
Erotic,” i. c. befits it.

b . Moroever —

Text.

No. 227. But this love in union is said to be of four kinds from
its coming after * love antecedent’ to personal acquaintance, Sec.
- (see § 213.)

Commentary.

a. As has been declared — “ Not without previous separation does
the union of lovers prosper ; for it is after clothes or the like have been
soaped that their colour increases the more.”

b . Among these, — there is union after becoming previously ena-
moured, in the case, for example, of Prirvati and S'iva in the Kumdra-
Sambkave^; and union after separation by being abroad, as in the
following verses of my father’s.

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The Mirror of Composition.

u Is it well with thee, — thou with the deep-fringed eyes?” — “ My
welfare is slender, though my person he so plump.”# — “ Wherefore
is there such slenderness in thy welfare — “ llecause thy person is
so stout.” — “Why am I stout, darling?” — “From the embraces of
thy beloved.” — “ I have none, save thee my fair-browed one.” — “ If
this be so, why dost thou ask after my welfare ? — thy own wretched-
ness in absence , — didst thou but love as I do, — tcould have told thee
mine”

And so examples of the other cases may he inferred from this illustra-
tion .

c. Next of the 1 Comic’ (hdsya § 209).

Text.

The * Comic/ No 22S. The * Comic/ in which the 4 permanent
described. condition’ (§ 200) is 4 Mirth/ and which, according to

the fancy of the mythologists, is white- coloured, and has the attendants
of S'iva as its presiding deities, — may arise from the fun of distorted
shapes, words, dresses, gestures, Ac. Whatever a person laughs at,
when he beholds it distorted in respect of form, speech, or gesture, this
they call the ‘ substantial* element of the Comic / — sec § 03, — and the
gestures thereunto pertaining are held to be the 4 enhancers’ (§ 02).
Among its * ensuants’ are closings of the eyes, smilings of the counten-
ance, Ac., and the 4 accessories’ (§ 169) may be Drowsiness, Indolence,
IIow men of Dissembling, Ac. When under the influence of the
different clia- ‘ Comic / the best kind of persons slightly smile or else
their* sense of smile ; the middling sort laugh, or laugh aloud ; the
the ridiculous. baser sort roar wifli laughter, or are conyjplsed with
laughter ; such are the six kinds %f mirthful expression. Let a * slight
smile’ (smita) have the eyes a little opened and the lip quivering ;—hy
the learned, among these varieties of mirthful expression , that is called a
4 smile’ (hasita} where the teeth are somewhat shown ; a * laugh 1
(vihasita) is attended by a soft sound ; loud t laughter’ (avahasita) is
that which is attended by shakings of the head and shoulders ; a ‘roar
of laughter’ (apahasita) has the eyes filled with tears; a 4 convulsion
of laughter’ ( atihasita ) is that where the limbs lose all controul.

• Tho scholiast explains this sentence thus : — 41 That my body is so much oma-
ei&ted, this is my welfare.’ * P« M.

\ “—Thinness in thy body,” according to tho commentator. P. M.

123

The Mirror of Composition,

Commentary.’

a. For an example of the 4 Comic' —take my verses —

“ Having for five days studied the words of the teacher Brihaspati
or Prabhdkara , and for three whole days the Vedanta system, and
having sniffed a smell of the disquisitions of Logic, this Dr. Cock has,
arrived in full feather.”

b. The full development o£ this — i. e. of the ‘ Comic ’ — is to be seen
in the No taka-mel a lea , &c t

c. And in regard to this, the following is to be remarked.

Text.

The represents No. 220. And even if the person to whom, a* its

tion of the sub-

j«Hit of tho ‘Co- subject, belongs the sentiment of laughter is not

Ihnent not^iiidis- flircctl > r exhibited anywhere, still he is discerned- •
pcnsablo. through the force of the excitants, &c. which cannot

indeed be realized in their completeness , unless we suppose a hero,
under the influence of the sentiment , exhibiting his sense of the ludicrous
Inf external marks, in Poetry called Ensuanls. These Excitants, &c.
are apprehended by reason of there being through Sympathy (g 40), an
identification of the spectator with the actor ; and thence is this flavour,
the 4 Comic,’ experienced by the spectators.

also.

Commentary.

The same is to be understood in regard to the other flavours

Next of the 4 Pathetic’ (karuna § 209).

Text.

The < ^hetic* No. 230. Let that flavour be called the 4 Pathetic*
described. which* arises from the advent of what is unplesant,

or from the loss of what is loved. J3y the learned it is mythologically
spoken of as dove-coloured, while its presiding deity is tho god of death.
Let sorrow be hove the permanent mood (g 200) ; — what is held to be
the Essential Excitant (g 63) is the object sorrowed for. Let the
‘ enhancers’ (§ 62) be such things as when this — the dead body of
the loved one — is beiug burnt. Its 4 Ensuants’ are the cursing
ofle’s destinj^ falling on the ground, wailing <fec\, changes of colour,
sighs, and sobs, stupefaction, and raving. Its 4 accessaries’ are in-
difference to all worldly objects , fainting, epilepsy, sickness, debility
remihiscenees, weariness, distress, insensibility, madness, anxiety, &c*
r 2

124 The Mirror of Composition.

Commentary. .

a* The * object sorrowed for’ is a deceased relative, or the like.
For example— in my R4ghava-vil£sa —

44 How unsuited are this thy lovely form and the cultivation of
matted locks in the forest ! Is not fate’s coupling the two as inappi'o-
priate as a cutting of the Acacia-flower with a sword P”

For here we have Das'aratha blaming* destiny, he being pained with
the sorrow produced by Rama’s having to dwell in the woods — when
he was so much better qualified to adorn a palace*

S. In like manner examples might be adduced where there is se- .
paration from relatives, loss of wealth, Ac. But the full development
of the 1 Pathetic' is to be seen in the Mahibhfirata, in the section
entitled the Stri^parvvan.

c. He now states the difference of this — i e . of the real 4 Pathe-
tic' — from 4 separation of tender sadness’ (§ 2 24).

Text.

No. 231. This flavour, the 4 Pathetic ,’ differs from the 4 separation’
of those who are destined to be reunited, through its having Sorrow as
its ‘permanent mood.’ In the 4 separation,’ spoken of under § 221,

4 the permanent mood,* or groundwork of the sentiment , is Desire, — this
being occasioned by the hope of enjoying reunion.

Commentary.

a . Next of the 4 Furious’ (raudra § 2 o9).

Text.

Tho • Furious* No. 232. The* 4 Furious/ in which Anger is the
described. e permanent mood’ (§ 206) is — according to the my*

thologists, red-coloured, and has Rudra as its presiding deity. Its 4 essen-
tial excitant’ (§ 63) is an enemy ; and his behaviour it regarded as its
4 enhancer’ (§ 62). Its liveliness maybe enhanced by strikings with the
fist, fallings, rudeness, cuttings and tearings, fights and confusions.
Its 4 Ensuants’ are knitting of the brows, biting of the lips, swelling
of the arms, threatening gestures, telling of one’s achievements, and
brandishing of weapons ; so also reviling, and angry looks, Ac. Lot
sternness, Hurry, horripilation, perspiration, trembling, intoxication,
delirium, impatience, Ac., be its 4 accessory’ moods.

125

The Mirror of Composition .

Commentary.

a. Tor example — hear As'watth&man in the Veni-sanhdra.

“ By whichsoever unmannerly beasts of men among you, armed as
you are, this heavy sin of Drona's murder was perpetrated or approv-
ed or witnessed, I shall make a sacrifice to all the quarters of heaven
with the blood, fat, and flesh of them, though they include BMma
and Aijuna with Krishna , the foe of Naraka.”

i. He states the difference t>f this from the martial * Heroic. 1

Text.

No. 233. And it is the redness of the face and eyes that differences
"this, the ‘ Furious? from the martial * Heroic’ — which is to be next
described.

Commentary.

a. Next of the ‘ Heroic’ (vira § 209).

Text.

The ‘ Heroic* No. 234. The ‘ Heroic,’ which belongs to the
described. noblest men, has energy as its f permanent mood*

(§ 206). It is stated by the mythologists to be yellow-coloured, and to
have the great Indra as its presiding deity. But its ‘Essential
Excitants 1 (§ 63) are held to be persons that arc to be conquered, &c.
Its ‘enhancers’ are the behaviour, <&c., of the persons to be conquered,
&c. But let its ‘ Ensuants’ be the seeking for allies, &c . But its
‘ accessories’ are firmness, resolution, pride, remiifiscences, reasonings,
and horripilation. And it may be of four kinds, as being conversant
about liberality, or duty, or war, or benevolence.

- Commentary.

• %

The * Heroic* a * 1 And it’ — i. e. the ‘ Heroic.’ It is of four
divided. kinds. (1) The ‘ Heroic of liberality,’ (2) the ‘He-

roic of duty,’ (3) the ‘ Heroic of war,’ and (4) the ‘ Heroic of bene-
volence.*

b. Among these the ‘ Heroic of liberality’ — for example Paras' u-
rama, whose liberality is spoken of as follows .

The ‘ Heroic* $f “ His liberality extended to the giving away, with-
libShdity. 0 ut affectation, of the earth girdled by the

seven seas.”

Here the * permanent mood,’ Paras'urama’s energy in dispensing,
attains to being the ‘ Heroic of liberality,’ it —the Flavour in question —
being excited by the ‘ Essential Excitants’ (§ 63) the brahmanical

126

The Mirror of Composition.

recipients, and by such ‘ enhancing exeitants’-(§ 62) as the goodness and
determination of the benefactor ; and exhibiting as * ensuant’ on it
the relinquishment of one’s whole possessions, &c. ; and being brought
to its highest development by such ‘ accessories’ as cheerfulness in the
parting with all one' s possessions, firmness, &c.

c. The ‘ Heroic of duty’ — for example — Yudhishthira — who speaks
as follows.

Tho ( Heroic’ of “ My kingdom, and my wealth, and my body, and
^ ut ^’ those who are my wife, my brothers, and my child-

ren, and whatever in ‘this world I am possessed of, all this is ever ready
to be sacrificed to my duty.”

d. The ‘ Heroic of war’ — for example — the illustrious Bamchandra
— whose ambassdor y Angada the son of Bali, Huts spealcs.

The 4 Heroic’ of “ 0 Havana lord of Ceylon, let Sit A the daughter
Tvai ‘ > of Janaka be restored. Rama himself begs this.

What confusion of thy wits is this ? Rethink thee of propriety. Even
up to to-day nothing is lost* to thee in Ceylon, — but count not on further
forbearance. If thou wilt not do thus, tin’s arrow of mine, — already
stained with the neck-blood of thy friends Khara, and Dushana, and
Tris'iras, — once let it make friends with the bow-string that joins it,
will forbear no further.”

e . The * Heroic of benevolence’ — for example — J hnutavahaoa — who
— outshining Prometheus — thus addresses a hungry vulture which has
stopped eating him.

The ‘Heroic’ of “The blood is still circulated by the valves of my

benevolence. veins, and there is still flesh on my body ; — I do not

% *

sec that thou art yet satiated ; — why then, 0 bird, hast thou desisted
from devouring ?” ,

f In the case of these also (§ 231. c. d. e.) y the appropriate 1 condi-
tions,’ <fec. may be inferred by the reader for himself as in the previous
example--(§ 231 b.) — where they are stated with sufficient fulness .
g. Next of the ‘Terrible’ (bhaydnaka § 209).

Text.

The * Terrible* No. 235. The ‘ Terrible’ has fear for its ‘perma-
described. nent m ood’ (§ 2uG,) and Time for its presiding deity.

It belongs to women and mean persons, and is regarded under 0

* Hero the edition of 1828 reads 9Tff and the translation is according to this
reading instead of that in liber’s edition. V. M.

127

The Mirror of Composition .

mystical or mythological aspect by the learned as being black-coloured.
In this case that is regarded as the 4 Essential excitant' (§ 63) by which
the fear is produced. Again; let the 4 enhancers' be its fierce gestures.
The 4 ensuants,’ in this case, are changes of colour and speaking with
a stammering tone, faintings, perspiration, horripilation, trembling,
looking in every direction, <fcc. Its 4 accessories’ are aversion, agita-
tion, bewilderment, terror, debility, prostration, doubt, epilepsy, con-
fusion, death, &c.

Commentary.

a. For example—

• 44 The eunuchs lied, having abandoned shame, because of their not
being reckoned among men ; the dwarf, in terror, ensconces himself
within the loose and unde trowsers of the chamberlain ; the moun-.
taincers, the guardians of the bounds, acted in a style accordant with
their name— see § 81. b. ; while the hump-backs, fearing that they
may be seen by the monkey who has occasioned all this alarm , cower-
ing down, slink quietly off.”

b. Next of the 4 Disgustful’ (bibhatsa § 200).

Text.

The { Disgust* No. 236. But that Flavour is called the 4 Dis-
f uf described. gustful* where the 4 permanent mood’ (§ 206) is Aver-
sion. It is alleged bijthe mylhologists to be blue-coloured and to have
Malukala (an awful form of S'iva) as its presiding deity. Stinking flesh
and fibre and fat, are regarded as its 4 Substantial excitant’ (§ 63). In
the same, the presence of worms &c. are instanced as the 4 enhancers.’
Spitting, averting of the face, closing of the eyes, etc., are regarded as
‘ensuants' in this case ; •and, in like manner, let the 4 accessories’ be
bewilderment, epilepsy, agitation, sickness, death, &o.

• Commentary. *

a ' For example — Maloti Madhava Act Y . —

“ Having first tom and stripped off the skin, then having devoured
the swollen and violently stinking lumps of flesh that were readily to
be got from such parts of the mass as the shoulders, buttocks, and
back, — casting his eyes within the skeleton , and with his teeth displayed,
the beggarly ghost is eating at his ease, from the skeleton placed in his
kp, what flesh remains upon the bones or is to be found at the joints.”

^ Next of the 4 Marvellous’ ( adbhuta § 209).

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The Mirror of Composition*

Text.

The « Marvel- No. 287. The 4 Marvellous’ has wonder or m*-
Ions described. (§ 206) — as ;ts 4 permanent mood* (§ 63), and a

Gandharva as its presiding deity. It is alleged hj the inythologists to
1)6 gold-coloured. Its ‘essential excitants (§ 63) is held to be any
supernatural thing. Then again let the greatness of the qualities of
that supernatural thing bo the * enhancers’ of the sentiment . Stupe-
faction, perspiration, horripilation, stammering speech, agitation^ and
so too wide opening of the eyes, and the like, arc said to be its 4 ensuUnts.*
Its 4 accessories* are ‘ debate’ (§ 202), flurry, confusion, joy, &c.

Commentary.

a. For example — listen to Lakshmana in the Yiracharita of
Bhavabhuti , Act /.

“The sound of the clang raised by the breaking of the bow-staff of
. the Moon-crested S'iva, which (bow) had got into his (Kama’s) arms
— or literally arm-staffs — as a drum for proclaiming the boy-play of
my elder brother — reverberating with its force condensed in the belly
of the receptacle of Brahma’s egg — our universe-— the halves of which,
violently shaken, have collapsed as a box so that the sound can't get out }
—ha ! — bow ! — does it not even yet subside ?’*

b. Next of the ‘Quietistic* ( santa , § 219).

Text.

The ‘ Quietistic’ No. 238. The 4 Quietistic’ has quietism (§ 207) as
described. its 4 permanent Jfoood’ (§ 206), and is esteemed the

mood of the very best of men. Its beauty is fair as jessamine and as the
moon, and the adorable Nar£yanais its presiding deity. Its 4 essentia)
excitant* (§ 63) is the emptiness or vanity of all things by reason of their
not being lasting, — or else it is the form of the Supreme Spirit, — i. e. God
— the only entity in the opinion of the quietist. Its 4 enhancers’ (§ 161)
consist of holy hermitages, sacred places, places of pilgrimage, pleasant
groves, and the like, — the society of great men, &c. And let its
4 ensuants’ be horripilation, &c. ; and in like manner let its 1 accessories*
be self-disparagement, joy, remembrance, resolve (§ 169), kindness
towards all beings, &o,

129

The Mirror of Composition.

Commentary.

a. This is an example : —

When will the crow fearlessly carry away the food placed as alms

in my joined hands, as I move along the high way, wearing rags of
a worn-out patched garmeut, looked at by the citizens in the road
with fear, with curiosity, and with pity, sleeping in the unfeigned
bliss of relishing the nectar of spirituality ?

b . The fulness of this flavour is to be seen in the Mahabharata, <fcc.

Text.

..... . No. 239. The c Heroic-in-mercy,* or the like,*

The Quietistic not J

"identical with the is not the same with this flavour y as the latter is of

Heioic-in-meicy, &e. a nature without egotism.

Commentary.

a. In the Heroic-in-mercy and the like, such, for example, as
Jimuta-vahana, we do not lind an extinction of egotism, inasmuch
as in the middle of the drama Nagdnanda , whereof he is the hero , his
love for M'alayavati and, in the end, his acquiring the sole monarchy
of the Vidyadharas are observed. The Quietistic, however, consisting
only in the extinction of egotism in every way, is not to be included
therein (viz. in the Heroic- in-mercy, &c.) Hence, in the Nagananda
the Quietistio’s being the principal sentiment is confuted.
b. But, then, (some one may ask) —

An objection stat- [“ That in which there is neither pain, nor
pleasure, nor thought, nor hatred, nor affection,
vour. nor any desire — is called by the chief sages the

Quietistic Flavour, which has, among all the sentiments, Quietism for
its principal mood.”] Jlow can the Quietistic being of the nature
described in the preceding couplet , arising only in the state of Eman-
cipation (which is defined to be the attainment of the real nature of
the Soul) and wherein there is an absence of the Accessories, &c. be
a flavour ? To this it is replied as follows : —

Text.

The Quietistic a No. 240. As that quiotism only, which exists
.SuiTlaonly in the state wherein the mind is joined to and dis-

toi emancipated. joined from the Soul (or, in other words, when
the human Soul is not completely absorbed in the Divine) attains to

# The * Huroic-in-religioriy’ devotional love, &c. (Soo fcj 233, a — e, whore the
terms are somewhat differently rendered )

130 The Mirror of Composition .

the nature of flavour, the presence iu it of Accessories also is not
hindered.

Commentary.

a. As for the declaration of the absence, therein, even of pleasure,
it refers only to worldly pleasure, and consequently there is no con-
tradiction. For it is asserted —

The bliss of quiet- ‘ The earthly pleasures of sense and the great
ism supreme over , , " . , , , , ,,

heavenly as well as * pleasure in hoaven : these are not worth the

earthly pleasures. sixteenth part of the bliss springing from the

quelling of all desires. *

Text.

, TT . # The 4 Hcroic-in-mcrcy,’ <fec. are entitled to be
When the Heroic- 4 J .

in-mercy becomes the included herein (i. c. in the Quietistic Flavour)
yuietistic. if they a ^ a j u a g f a t e devoid of egotism in

every way,

Commentary.

a . By the 4 Ac.’ are meant the * Heroic-in-roligion,’ the 4 Heroic-
in-generosity/ 4 love having a deity for its object’ and others. Amongst
them, love having a deity for its object is exhibited , lbr example, in
the following lines : —

Devotional love “ When shall I pass mg days as a moment,
illustrated. dwelling in Vardnasi here on the bank of the Divine

River (Ganga), wearing a waist-cloth, f holding my hands joined on
my head, and crying out — 44 0 Lord of Gauri, Destroyer of Tripura,
Three-eyed Sambhu,J be propitious !”

b. Now the flavour of 4 parental affection’ acknowledged by the
chief of the sages (Bharata) shaft bo defined.

Text.

# No. 241. From its evident charmingness they

Tho Flavour of °

« Parental Affection’ consider Parental Affection also as a Flavour.

described. Its Permanent Condition is parental affection, and

a son, &c. are considered its Essential Excitants. The Enhancing

* TJie numbering of this Text has been omitted in conformity with the
edition of the original by Dr. Itour, who eriingly considers it as a portion of
the picceding commentary.

f In tho original, or a small bit of cloth worn over the privities.

X One of the names of S'iva, as the Author of good, or the Deity in
Supreme blessedness when he has withdrawn His energy manifest as VW
Universe.

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The Mirror of Composition

Excitants are their actions, learning, heroism, benevolence, Jfcc. Em-
braces, touching their body, kissing their head, gazing at them,
erection of the hair of the body, tears of joy and others, are declared
to bo the Ensuants. Apprehension of evil, delight, pride, &c. are
considered the Accessories. Its (the Flavour’s) colour is shining like
the interior of a lotus and the Mothers of the World are its deity.

a, The follo wing is an example : —

“ That child heightened the joy of the father

him! illustrated.

as it uttered what its nurse lirst spoke, as it
walked clinging to her finger, and as it stooped being taught to bow
‘"down.”

h. Now, lie states the incongruity among the Flavours : —

Text.

Wliicli Flavours No. ^ 1C First is opposed to the Pathetic,

nro incongruous with the Disgustful, the Furious, the Heroic and the
Fearful ; the Comic, to the Fearful and the
Pathetic. The Pathetic is inconsistent with the Comic and the Erotic ;
the Furious, with the Comic, the Erotic and the Fearful ; the Heroic,
with the Fearful and the Quietistic ; the Fearful, 'with the Erotic,
the Heroic, the Furious, the Comic and the Quietistic ; the Quietistic,
with the Heroic, the Erotic, the Furious, the Comic and the Fearful ;
and the Disgustful is incongruous with the Erotic. Thus has the
inconsistency been stated.

Commentary.
a. By ‘ the First’ is meant the Erotic.

h. The ways of introducing these Flavours shall lie mentioned
afterwards (See Text 601 & Com.)

Text.

No. 243. Madness and the like,* though from
some cause attaining to an apparent permanency
somewhere, are not * Permanent Conditions,’ as
they do not become permanent in the Hero of a
drama or a poem , (or, in other words , as the Hero does not act princi-
pally in those conditions ) .

Madness, &c. not
‘permanent condi-
tions’ though some-
times apparent as
such.

* I. o. the other Accessories (see Text No. 169) which are only concomitants
of somo one main sentiment, such as Lovo lor instance, and this alone is conse-
quently spoken of as a ‘ Pernimnent condition.*

H 2

132

The Mirror of Composition.

COMMENTARY.

a. As, for example, the madness of Pururavas in the fourth Act of
Vikramorvasi.

Text.

All poetical senti- No. 244. Flavour and Incomplete Flavour,
mentis, being rolisha- .. . . .. ... , ... , _

ble, are flavours tropi- their 'semblances, the 'quelling and the ' ex-

caJ ^- citement’ of a sentiment* and the ' conjunction*

and ' commixture’ of sentiments — even all these may be considered as

Flavours from their being tasted.

Commentary.

a. From their possessing the quality of being tasted, even the
Incomplete Flavour, Ac. arc Flavours, metaphorically. This is the
purport.

b. The Incomplete Flavour, Ac. are defined as follows :

Text.

An Incomplete Fla- ^ 0 - 245. The principal Accessories, Love a
vour what. Deity, Ac. being its object, and a 4 Permanent

condition’ merely awakened (and immediately quelled) arc denominated
i Incomplete Flavours’ (or sentiments simply.)

Commentary.

a . 44 There is no Flavour without a sentiment, nor a sentiment

devoid of Flavour : a Flavour and a sentiment are completed by each
other.” Now from a full consideration in the way suggested above,
such Accessories as, — though they are always concomitants of Flavour
in which they finally end — are, for the time, principally developed,
like a servant followed by his king in his marriage procession ; Love
having a deity, a sage, a spiritual guide, a king or the like for its
object ; and such ' permanent conditions’ as are merely awakened, or,
in other words have not attained the nature of a Flavour from their
not being fully developed by the Excitants, Ac. — are denoted by the
word ‘ sentiment’ or 'mood’ (Bhava).

# More properly, condition or state of being, for the original word bhava
comprehends in its sense feelings and mental states, together with conditions
of the body.

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The Mirror of Composition .

Aii Accessory at- b. Among these an ‘ Accessory, prominently
!in n Tjfcom pIotc^Fla^ developed' is exemplified in — “ Whilst thus the
vonr illustrated. divine sage spoke, P6rvati, at her father’s side,
holding down her head, counted the leaves of the lotus, with which
she played.”* Here, ‘ Dissembling’ (Avahittha) is the Accessory.

c. Love — a Deity being its object — as in this stanza of the Kunda
Mala : —

“ I am willing to dwell in heaven, or on earth,
or in hell, 0, Destroyer of Naraka !f May I only
meditate even in death on thy feet that scorn the
red lotus of Autumn !”

Love for a Divinity,
an Incomplete Fla-
vour, exemplified.

d. Love having a saint for its object, e. g. — -

Love for a sage, Through the sin-destroying sight alone of thee
t he same, exemplified, j ] iave obtained my end, still do I feel a wish
to hear thy weighty words, for who is ever satiated with Supreme

felicity ?

e. Love having a king for its object as in the following :

Love for a king,
the same, illustrated.

“ Siva, afraid of the immense weight, bears not
the Ganges on his head, muddy as it is with the

heaps of dust raised by the multitude of thy horses.”
f So of others (i. e. love having other objects).

g. A 1 permanent condition,’ merely, awakened — as —

An undeveloped
‘ permanent condi*
turn,* the same, exem-
pliiied.

“ Hut S'iva, like the ocean at the time when
the moon is about to rise, with his tranquillity
slightly disturbed busied bis three eves on Uma’s

face with lips like the Vimbaf fruit.” Here is exhibited the love of

the Holy One for Par vat i — merely awakened .

The possibility of *- Put, (—as some one may object—) it has

an Accessory’* being been declared that ‘ the one or simple perception
principally developed .

in a Flavour ques* of the excitants, &c. is Flavour, § — how then can
tionc< ** an accessory, which has no severalty therein, be

principally developed ? To this it is replied —

# Kumara Sambhava, C. 6, v. 86.
t Vishnu who destroyed a Demon of this name.

X The gourd of the Momordica Monadelpha,— Wilson's Die,
§ See § 60. c.

The Mirror of Com pout fi mi.

131

Tk.yt.

The singleness of No. 246. As in the sherbet which is a union

flavour not militated 0 f i H M,v )er &c. there is sometimes an excess of
against by an Accus- 1 1 1

oory’s being prinei- some one of the ingredients, so there is an excess
pally developed m it. ^ an Accessory in a Flavour.

Commentary.

a. Now on the 4 semblance of Flavour,’ and the 4 semblance of
Incomplete Flavour.'

Text.

The * semblance of No. 217. When a Flavour and an Incomplete

flavour’ and the 4 sem- pi avour aro brought about with impropriety, they
blnnce of incomplote n l i j* j

flavour 1 goner ic ally are called the semblances thereof,
defined.

Commentary.

a. 4 Here, the 4 impropriety’ is to be understood to mean the
defectiveness of the Flavours as defined by Bharata, &c., when there
is a lack of entireness in them as regards their ingredients .

h. This impropriety , is partially elucidated, for the instruction
of the unlearned, as follows :

Text.

How Flavours are No ' 248 - There is an ^propriety in the Ero-
reduced to mere sum- tic, when Lov# is resident in a Secondary hero
biarites. and when it is fixed on the wife of a sage or a

spiritual guide, when it has many heroes for its objects and when it
does not exist in both tlie parties , when it exists in a rival-hero, as
also when it is in a low person, in the inferior animals, <fcc.

There is an impropriety in the Furious, if a spiritual guide or the
like be the object of Anger ; in the Quietistie dwelling in a vile
person ; in the Comic having a spiritual guide, &c. for its objects ;
in the Heroic .when the bravery is shown in killing a Brahmaoa, &c.
or when it abides in a low person ; in the Fearful when the emotion
of fear is excited in a noble personage, and similarly in the other
Flavours.

The Mirror of Composition.

135

Commentary.

a . Among these 4 the semblance of a Flavour’ resulting from Love
having a secondary hero for its object is displayed, for example, in
these verses of mine : —

Love for a secon- “ ‘ Sim P lc enough is my husband, thick is this
dary hero a semblance wood, and I am a solitary girl here, and the
illuhfci ated* overspreading darkness, black like the Tamala tree,

mantles over the earth, — make way for me, therefore, 0 lovely one,
O Krishna, immediately’ — mayHari preserve you, as he, hearing these
words of the milk-maid embraces her and is engaged in the endear-
" ments of love.”

h. Love having many heroes for its objects — as —

“ 0 thou of fair form, they only, I believe, are
Love for a number ,

of heroes, the same, lovers ill the three worlds, lor whose sake this thy

exemplified. check is pale.”

c. Love not existing in both the parties is, for instance, the love

of Nandana for M&lati in Bhavahhuii s drama the ‘ Malati and

Madhavd.*

. . d. “ Love existing, first, in one is a 6 semblance
Love, until it is , „

mutual, a semblance of Flavour though it be mutual, afterwards.

of i lavour. This is the dictum of the venerable author of the

Lochana, There is an example of it in Katnavali (a drama by king

Marsha) wherein Siigarika loves \ atsa-raja, before they see each

other.

Love in a rival e * I j0ve m a r ' ys ^ hero — a *S f° r example, in
hero, tho same. the description of Hayagriva’s sports in the water,

in the Hayagriva badha.

/ Love in a low man — as in the following :

Love in ft low man, “ A female Bheel with a string of leaves tied
tho sumo, exemplified. r0 und her waist, having picked some mountain

Jasmine and sitting upon the hill before her husband, made him comb
her hair.”

g. Love in an inferior animal — ms —

Lovo in an inferior “ Tho female bee, with notes melodiously
animal, tho same. fluctuating like those of the warbling* lyre,
betook herself to singing, as she called her lover within a creeper, —
roving in the midst of the woods delightful with Jasmine flowers.”

* Lit. Vibrating.

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The Mirror of Composition'

h. By the ‘ ifce.' after 1 animals / (see the. Text) are meant ascetics
and others.

L The semblance of the Furious is exemplified in —

The semblance of * Yonder, enters Aijuna to slay Yudhishthira

the Furious exempli
tied.

— leaving Karna (his enemy) — fiercely striking on
his shoulders, holding his bow and arrows, fearless
(even while Krishna beholds him) burning at the harsh words of
Yudhish(hira and extolling the valour of his own arms, while his large
rolling eyes sparkle red and his body trembles, through anger , again
and again !”

j. The semblance of the Fearful — as —

„ In Jra, unable, with his eyes perplexed, to bear
the Fearful illustrat* the sight of him, as of the Thousand-rayed Sun t
eti * — having entered into a cave-house of Himalaya,

passed his days affrighted.” Herein there is the semblance of the
Fearful , for the real nature of the Flavour is Fear residing in a
woman or a low man.

k. Thus with the other Flavours.

Text.

„ No. 218. The semblance of Incomplete Flavour

Tho semblance of .

Incomplete Flavour exists, for instance, m shame residing in a

defined. courtezan.

a. The Text is clear.

Commentary.

Text.

The * quelling,’ the

* excitement,* the

* conjunction* and the
1 commixture’ of sen-
timents defined.

No. 249. *I3y the c quelling/ the ‘ excitement/
tho ‘ conjunction’ and the ‘ commixture* of senti-
ments (seo Text 244,) are meant, respectively the
cessation, the coming forth, the co-existenco and
the confusion of sentiments.

Commentary.

’ a. These are exemplified in the following four extracts, respec.
tively : —

The quelling of a “ ‘ Fair-formed one ! forego thy anger, see me
sentiment. fallen at thy feet ; 0 ! never was thy anger such

before’ — as thus her lord spake she shed not a few tear drops Ifid
spoke not a word, as she partly opened her eyes to look down. *

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The Mirror of Composition .

h. Here is exhibited the quelling of the concomitant feeling named
‘ jealousy** through the shedding of tears.

Tho ‘ excifcoment* “ Heaving a deep sigh, she with her hand placed
of a sentiment. upon her bosom fi xed upon her female friends her

sight obstructed by tears in her eyes, as her lover was going away,
desisting from propitiating her through her rejection of his falling at her
feet, and ruffled with anger at being called by her a disguised cheat.”

c. Here is the excitement of * Despondency.’

Tho ‘ conjunction’ “ 0 • this form, ecstatic to my eyes but hard to
of aontimonts. obtain even through imagination, — 0 ! the one

* with 'drunken eyes gladdens my heart yet torments it.”

d. Here is the conjunction of ‘ Jo y’ and 4 Despondency.’

The * com mixture’ “ 0, a bad action, and the offspring of tho

of sentiments. moon ! — how inconsistent! — May she be seen

again ! — I have my sacred knowledge for the removal of my faults ;
— oh ! how lovely her face even in anger ! — What will wise men say —
they whoso sins are purged off? O! she is hard to obtain even in a
dream ; — my mind 1 be thou tranquil ; — 0 what fortunate youth will
suck her underlip.”

e. Herein, is exhibited the commixture of Debate, Longing,
Resolve, Recollection, Apprehension, Depression, Equanimity and
Painful Reflection.

f So much for the “ Declaration of Flavour, Incomplete Flavour,
&e.”— the third chapter of the “ Mirror of Composition.”

CHAPTER IV.

The Declaration of the Divisions of Poetry .

lie now states the divisions of Poetry.

Division of Poetry
into (1) ‘ Suggestive’
and (2) * That where-
in the suggested
moaning is subordi-
nate to the expressed.’

Text.

No. 250. Poetry is held to be of two sorts,
viz. (I) 4 Suggestive’ and (2) 4 That wherein the.
Suggested (§9) is subordinate to the Expressed
meaning

Commentary.

Of these—

* Jealousy is ono of tho accessories of the Erotic 1? lavour*

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The Mirror of Composition .

Text.

, No. 251. 1 Suggestive Poetry’ is that in which

Suggestive Poetry, 00 'L . , , . .

the highest Poetry, the Suggested prevails over the Expressed, and tins

dofined. is i ie jj the Highest Poetry.

Commentary.

a . The Highest Poetry denominated ‘ Suggestive’ is that wherein
the suggested meaning is more striking or surprising than the
expressed, the Sanskrit word for suggestive poetry, viz,, ‘ Dhtcani,
derived from the root * dhwant (to sound) — signifying that wherein some
secret , distinct meaning sounds as it were .

Text.

1 Two-fold Bub-divi- No * 252 ' of ‘ Suggestive Poetry’ also are men-
fiion of Suggestive tioned two distinctions — originating in * Indica-
Indication and De- tion’ and ‘Denotation, respectively— which are,
notation. (p) That wherein the expressed meaning is sox

desired to he conveyed and (2) That wherein the expressed meaning
implying, or tending to , another (i. e. a suggestion) — is desired to bo
conveyed.

Commentary.

a. Of these two distinctions, the ‘ Suggestive Poetry’ named ‘ That
wherein the expressed meaning is not desired to be conveyed’ has for its
source * Indication.’ And it is from its originating in Indication that
in it the expressed meaning is not desired to be conveyed or is made
nugatory.

1. But, ‘ That wherein the exffccssed mearting— tending to another

13 desired to be conveyed’ has for its source ‘ Denotation,’ and hence

it is that wherein the expressed meaning is desired to be conveyed.

c. 4 Tending to another’ (see the Text) means ending in a suggest-
ed sense .

d. In this second distinction the expressed meaning manifesting
indeed its own self is the manifester of the 4 suggested,’ just as a lamp
is of a jar.

e. The sort of Suggestive Poetry that originates in Denotation,
requiring much detail, is mentioned after.

/. He states the two divisions of 4 That wherein the expressed
meaning is not desired to be conveyed’ as follows ; —

The Mirror of Composition. 139

Text.

Two- fold farther No. 253. The Suggestive Poetry wherein the
sub-division of the ,

Su^osti vo Poetry expressed meaning is not desired to be conveyed,
founded on Indication. also, becomes of two sorts, accordingly as the
expressed meaning passes over into another sense, or as it is made to
disappear absolutely.

Commentary.

a. The Suggestive Poetry named ‘ That wherein the expressed
meaning is not desired to be conveyed’ is two-fold, viz. (1) ‘That wherein
the expressed meaning is made to pass over into another meaning’ and
(2) ‘ That wherein the expressed meaning is made to disappear ab-
solutely.’

1. That (i. e. the first sort of Suggestive Poetry) in which tho
principal sense, not being itself appropriate, is changed into another
in the form of its own species — is called 6 That wherein the expressed
meaning passes over into another meaning,’ from the passage of the
principal sense into a specific signification, or, in other words , from
the thing denoted bg a word , for instance , being recognized in a
particular manner. The following is an example : —

“ The plantain is but the plantain, the lower side of the hand is
hut the lower side of the hand, and the trunk of Airavata* is but the
trunk of Airavata — these thighs of the deer-eyed one bear not a
likeness to anything, even, in the three worlds.”

c. Here, ( — to take, for example’s sake, one of the three expressions
repeated) the second 1 plantain,’ being hindered, through the fear of
tautology, from conveying its principal meaning, viz. a plantain tree,
simply recognized as such , conveys the sense of the tree, particularly
considered as characterized by the qualities of frigidity, &c. ; and the
excess of frigidity, «fce. of the plantain and its consequent utter
unfitness to be compared to the thighs of the lady are suggested .

d. The Suggestive Poetry — in which an expression, entirely giving
up its own (i. e. literal) sense, is changed into a different signification,
— is called ‘ That wherein the expressed meaning is made to disappear
absolutely,’ — from the principal sense being made to disappear in
every way. The following is an example of this sort : —

“ The moon, like the mirror blind with the breath, + shines not.”

* Tndra’s Elephant, tho chief of all the Elephants,
t Or the vapour of tho mouth,

T 2

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The Mirror of Composition .

e. Here, the word 4 blind,’ having its primary meaning cancelled,
conveys the sense of 4 dim,’ and the excess of dimness is suggested.

/ This verse is not an instance of 4 That in which the expressed
meaning passes into another one,’ blindness and dimness not being in
the predicament of genus and species, or, in other words , dimness not
being a species of blindness . Whilst in the preceding couplet, the
second 4 plantain,' for instance , though really conveying the same
sense as the first, is poetically strained to mean the tree, with particular
reference to its qualities of frigidity, fyc. and , hence , may be consi-
der cd to be used in a specific sense .

g. He guards against a misconception that is likely to arise with
reyard to the distinction between the two first divisions of Suggestive
Poetry founded, respectively, on Indication and Denotation . ("See
Text., 252).

44 Stroll, securely, O devotee ! that dog was killed to-day by a fierce
lion dwelling in the grove on the bank of the Godavari river.”

h Because, from the 4 stroll, 0 devotee !’ the direction for strolling,
not being suited to the circumstances of the ease, ends in the prohibi-
tion of walking — it is not to be supposed that there is in this couplet
the 4 Indication of the contrary,’ lor there only is an occasion of it
where an 4 injunction’ and a 4 prohibition* end in a 4 prohibition* and an
1 injunction’ respectively, as soon as they spring up as ideas in our
mind . Whilst that is an instance of suggestion simply (as the above
couplet) in which a prohibition and an injunction are understood from
an injunction and a prohibition, respectively, on t^ie consummation
of the circumstances of Tii^ case. T\> this effect has it been
declared : —

44 Somewhere the very expression is made nugatorily, as to its literal
sense ; somewhere the thing expressed is nullified : let there be
Indication in the former, and Denotation in the latter instance
i. The first passage (commencing with 4 The plantain is but the
plantain ) contains an instance of the passage or tiie entrance of
THE PRIMARY MEANING INTO A DIFFERENT SENSE, not of its
absolute disappearance. Hence it is that here is the 4 Indication
without abandonment of its sense.’* Whilst in the second passage
there is the ‘ Indication with abandonment of its sense, *t from the
primary meaning of the word 4 blind' being made to disappear entirely-
* See Text 14 & Com. f See Text 15 with Com.

141

The Mirror of Composition .

Text.

Two-fold aubdivi- No. 254*. ‘ That,* also, * where the expressed

Bion of the Suggestive meaning IS desired to be conveyed’ is considered
Denotation, first as two-fold, accordingly as the Suggested

sense therein (1) has its process not perceptible and (2) has its
process perceptible.

Commentary.

a. The Suggestive Poetry named ‘ That wherein the expressed mean-
ing — tending to another — is desired to be conveyed’ is also of two
sorts being (1) ‘That in which the Suggested is of’ imperceptible
process and (2) ‘ That in which the Suggested is of perceptible
process.’

Text.

^ , No. 2 55. Of these the first (viz. the Snqqcsted

Tho Suggestive # ,

Poetry in which tho of imperceptible process) consisting or r lavour,

fu ble process—- Incomplete Flavour, Ac. is gcnerically reckoned
reckoned as of one here as one only, since not even one division
bi>a ’ thereof can be definitely described because of the

infinity if its varieties ,

Commentary.

Flavour, Ac. aro a. Flavour, Incomplete Flavour, Ac., being of
the nature alrcac ‘y deacribod, aro tho ‘ Suggested
hbly. of imperceptible process.’* Now, the perception

of the Suggested, c^scd as it is by, and hence succeeding, the per-
ception of the Accessories, Ac., iias necessarily a process, hut from
its quickness it is not perceived, like the process of the apparently
simultaneous piercing through of a hundred lotus leaves placed one
upon another.

b . Of these — Flavour, &c. — even one distinction does not admit of
an enumeration of all its subdivisions from their infinity ; hence the
Poetry named ‘ Suggestive Poetry wherein the Suggested is of imper-
ceptible process,’ is declared to be of one form only. For,— not to
speak of all the Flavours— the varieties of even the single division of
the Erotic Flavour , viz. ‘ Love in enjoyment’ are not capable of being

* Tho reader must bear in mind, that Hindu writers on Tasto, curiously
enough, speak of Poetical Relish together with tho sentiments excited by Poetry
as l^ing suggested by it.

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The Mirror of Composition .

enumerated, inasmuch as they are endless in the shape of mutual
embracing, sipping the lips and kissing, &e. in each of which, again,
there are peculiarities of the Accessories, &c.

Text.

No. 256. The 4 Suggestive Poetry wherein the
Suggested is of perceptible process’ is declared by
the learned to be three- fold, for the Suggested
sense — comparable to an echo — may arise from
the power of a word, of a meaning, or of both.

Commentary.

a . That Suggested sense, which is like the resonance of the expressed
from the perceptibility of its succession to it, being three-fold, from
its originating in the power of a word, from its originating in the
power of a sense, and from its originating in the power of both a word
and a sense together,— the Suggestive Poetry named ‘ That wherein
the Suggested is of perceptible process’ is also three-fold.

J. Of these three divisions —

Text.

The Suggested No. 257. The Suggested sense arising from

sense founded on the the power of a word is two-fold, from its being
power of a word, two* . .

fold, viz. either a simple matter or an ornament.

Commentary.

a. From the separate mention of 4 ornament* in the Text , a simple
matter without an ornament is meant by the wo'd 4 matter’ in the
same.

(1) a simple matter, J. Of these two divisions the 4 Suggested sense
arising from the power of a word* being in the form of a simple matter,
is exemplified in the following couplet :

u 0 traveller, there is not even a little bedding in this village— a
place of stones, but seeing the clouds* risen, if thou dwellest, do
dwell.”

Here bv the power of the words 4 bedding,’ &c. is suggested the
matter, viz. 4 If you are able to enjoy, then remain.’

* In the original, which signifies breast also*

The * Suggestive
Poetry of perceptible
process,* tliroe-fold,
the Suggested being
founded on the power
of a word, of the
sense, or of both.

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The Mirror of Composition .

(2) an ornament. c. The Suggested sense arising from the power
of a word, being in the form of an embellishment, is shown in these
verses.

“ Who, by his fort, is insurmountable in battle, Who dazzles Cupid
himself by his radiance, attended upon by an assembly of mighty
princes, venerable, surrounded on all sides by men of afiluence, who
out of contempt looks not at the Kshattriya chiefs, who has a deep
devotion to S'iva — Lord of the mountain Kaildsa , who holds the whole
earth in possession, whose form is adorned with majesty — resplendent
is this beloved of Uma.”*

Hero Bhanudeva and the Lord ( — S'iva — ) are supposed to he with
respect to each other in the predicament of the compared and what is
compared to, lest the description of the husband of Parvati — who is
not in question- — hinted by the second sense of the verses , turn out
unconnected with the description of king Bhanudeva the husband of
the queen named Uma who is in question. Hence here is suggested
the ornament of simile, viz. ‘ the husband of Uma, the queen, is like
the husband of Uma the goddess.”

d. Or take another example —

“ 0 lord, thou art a source of joy to us, immense as thou art with
the glories acquired in war, and, associated with good fame, thou art
an enemy of the wicked.”

Here from the absence of the particle (‘ though’) after the
* words (‘ immense,’) &c. the semblance of the ornament named

1 contradiction’t is SUGGESTED. J

* Tho second sense of this stanza, as rendered by Dr. Ballantyno, (see § 25
c.) is with some little emendation, the following : —

“ Whoso body is never left by Durga, overwhelming by his radianco tho god
of lovo, on whom as a crest-ornament has risen a digit of the moon, venerable,
surrounded everywhere by his snakes, whoso left eye is made of tho lord of tho
stars (the moon), who has a solid affection for the most majestic of mountains
(-^the Him dl ay a — ), having mounted on a bull — the emblem of justice — with
l»is body adorned with ashes, — resplendent is this beloved of Umu.”

t See Chap. X. Text 718.

t To explain tho passage : — ‘ Amitali' followed in tho original by ‘samitah’ and
ahitah’ by * sahi tali’ — which are opposite words in their 2nd meanings — suggest
tho semblance of contradiction (i. c. a contradiction in words, not in sense)
which thoy would have expressed, if tho particlo * api’ (‘though’ or ‘yet’)
expressive of opposition, had boon put between each of tho above two pairs of
contradictory words.

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The Mirror of Composition.

e. The Suggested meaning, tlirough strictly what is ornamented,#
is figuratively spoken of here as the ornament, with reference to its
being an ornament in another condition,! just as we use the word
‘ Brahman-mendicant’ which, though it etymologically

means an absurdity viz . a mendicant , or one not a Brdhman , who is a
Brahman, tropically signifies one who was a Brdhman .

Text.

Tho Suggested No. 258. A sense is two-fold, being either a

sense founded on the .. . , 7 ,

power of a sense, matter, or an ornament and each of these two
twelve- fold. being either self-possible, established by the poets

bold assertion, or established by that of one figured by him — a sense
is six-fold ; hence the Suggested arising from the power of a sense
becomes twelve-fold, each of its two forms, viz. a matter and an orna-
ment being suggested by each of the above six.

Commentary.

a. * Self-possible’ i. e. possible even in the external world, from iU
(L e. the thing’s) fitness.

b. Established by 4 bold assertion,’ i. e. not through fitness, or not
according to the laws of nature.

c. These twelve sorts are exemplified in order, as follows :

(1) The Self-possible sense.

(a) Matter Suggested by matter .

“ O neighbour, will you castjrour eyes for a moment on our house
also ? — the father of this child will scarcely drink the tasteless water
of a well : though alone, 1 am quickly going hence to the river with
its bank covered with Tamala trees, — let the densely swarming knots
of the reeds with their hard projections scratch my body.”

By this self-possible simple matter, viz. the knots scratching tb
body, is suggested the simple matter, viz. the speaker’s concealing tho
nail-scratches, &c. to be caused by her dallying with another man.

* For the Suggested sense, being the most striking in Poetry, is its body < ir
principal part, and hence is that which is ornamented and not the extraneous
or unessential thing — its ornament.

t I. o. when it is expressly used, and not hinted through the suggest
power of words as in tho foregoing two stanzas.

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The Mirror of Composition .

(l>) Ornament suggested hg matter .
u The splendour even ot the sun decreases on the southern side, and
on that very side the Pandyas could not endure the prowess of Paghu.”

P»y this self- possible matter is suggested the ornament of 4 Contrast’
(afford) or that the prowess of liaghu is superior to the splendour
of the sun.

0 ?) Matter suggested by Ornament.

“ Halaraina, with his valour collected, marked him coming at a
distance, as a lion beholds an elephant Jiis prey.”

« Here by the self-possible suggestive sense in the form of the
ornament of simile (^U^T) is suggested the 4 matter,’ that Baladeva
will effect the destruction of the Demon Venudarin even in a moment,
(d) Ornament suggested by Ornament.

“ Who, biting in battle his under-lip with rage, freed the coral
lips ol the wives ol his enemies iroin the calamity of being pained
by the deej) wounds caused by the teeth of their lords.”

Here by the self-possible ornament of * Contradiction 1 * (fVTT^r) is
suggested the ornament of 4 Conj unction’ t (samuehchaya) or that the
under-lip was bitten and the enemies were killed.

(-•) Thk sexse established by: tiie poet’s bold assektiox.
(a) Matter suggested by Matter .

44 The season of sweet scents (Spring) prepares, but delivers not yet,
the arrows of the Incorporeal one (Cupid,) well lilted for their
marks —-the young women — arrows such as the new-blown, fragrant,
mango plants, feathered with the tender leaves.”

Here, Spring represented as the arrow-maker, Cupid, as the archer,
the voung women, as the marks, the liowers, as the arrows — all this
colleetivc matter, established by the bold assertion of the poet, dis-
playing itselfj suggests the matter, viz. the first excitement of Love.

(fj) Ornament suggested by Master.

“ 0 hero, the expanse of thy fame whitens perpetually Hie whole
round of the earth, lighted only by night by the beams of the pure-
Payed moon.”

Here by the matter, established by the poet’s bold assertion, (viz.
Ihe whitening of the world by the hero's fame), is suggested the

* Soo Cliap. X. Text 718. + Son Chap, X. Text 730.

+ 1. o, being first understood literally from tlio words or through their power
' oi Denotation

The Mirror of Composition.

ornament of 1 Contrast’* (vyatireba) consisting in the wide-spread
lame’s being an illuminator through a greater duration than the moon-
beams are.

(e) Matter suggested by Ornament.
u Tear-drops of the Fortune of the Demons fell to the earth, dis-
guised as gems, from the crests of the Ten-headed Havana”

Here by the ornament of 4 Concealment’ (apahnuti),f established
by the poet’s bold assertion, is suggested the matter of the future
destruction of the fortune of the Demons.

(<t) Ornament suggested by Ornament \
u Ornament J of the land of Trikalinga ! thy heap of fame, though
one, has attained to being the various decorations on the bodies of the
beautiful- browed ones of I mini's city — the bunch of new jasmine on
then* locks, the white lotus in their hands, the pearl necklace on their
necks, and the thick Sandal unguent on their breasts.”

Here, by the ornament of Metaphor (riipaka,§) established by tin*
poet’s bold assertion, is suggested the ornament of 4 Peculiar Causation’

( v i blui v an d J | ) that 4 though on earth, thou docst good to those in
heaven.’

(3.) The sexs e established by the bold assertion* op

ONE FKiirBED BY THE POET.

(a) Matter suggested by Matter.

“ On what mountain, how long and what kind of austerities did (
that little pairot practise, by which, 0 lair-faced one! it bites the
vimba fruit of thy under-lip’s redness.”

Here by this matter, (viz. thc*parrot's biting the vimba fruit through
its previous austerities ,) established by the bold language of a lover
figured by the poet, is suggested the matter that 4 thy under lip is to
he obtained by an excess of good deeds.’

(b) Ornament suggested by Matter.

44 Fair one ! in Spring the arrows of the maddening god having
attained the number of ten millions left the state of quintuplieitylb -
(juintuplicity (death) alas ! befell the separated lovers.”

* See Chap. X. §700. f Chap. X. §083 k 084-.

% Literally the ornamenting mark on thu forehead (tiluka).

§ §060. I! §716.

% Kama the Hindu Cupid is represented with a flowery bow ami five furrow*
of tho same material.

147

The Mirror of Composition.

Hero, by the matter, established by the bold declaration of a speaker
figured by the poet, viz. the deatli of all the absent lovers from
Cupid’s arrows attaining to the number of ten millions— is suggested
the ornament of ‘ Uncommon Supposition,’ viz. the quintuplicity of
the arrows having quitted them took possession of the separated lovers.
(c) Matter suggested hg Ornament .

“Wrathful, one, the humming bee on the jasmine bud beautifully
looks as if blowing the couch in the victorious march of him with tho
live arrows (Cupid).”

Here, by the ornament of £ Uncommon Supposition,’ (utprekslut — see
$ (ISO — 092) established by the bold word of a speaker figured by tho
poet, is suggested the matter, viz. £ this, the maddening time of Cupid
is arrived, why .then dost thou not give up thy anger, indignant one!”
(d) Ornament suggested hg Ornament.

t£ 0 fortunate youth, she, not obtaining a place in thy heart filled
with a thousand fair women, emaciates her frame, slender as it is,
making that her only business.”

Here, by the £ not obtaining a place* — the ornament of * Poetical
lieiisoii* (kavya-linga*) established by the bold language of a speaker
figured by the poet is suggested the ornament of* Peculiar Allegation,*
(vis’eshoktijf) viz. £ In spite of her emaciating her body she gets no
room to dwell in thy heart.’

d. The poet indeed is not possessed by passion, See. like one figured
\ by the poet, lienee the bold assertion of the speaker figured by the

poet, being more striking to the man of sensibility, is separately
described.

e. But , letter e the suggestion is as to an ornament , there it
necessarily respects the matter ornamented irhg then recognize orna-
ment distinctively t Because, among these (7. e. the above examples)
in the instances of suggestion as to an ornament, it is the tfMt'HES of
Metaphor, Uncommon Supposition, Contrast, Ac. that are perceived as
striking by the man of taste, and not what ahk rtaujiiii) severally
a inter these embellishments and hence the prominence belongs to the
ernanient or the figurative expression and not to the matter figured.

* §710.

t §717.

The Mirror of CviUjtosilioil.

Suggestion based
on the power ot‘ a
word and of a sense,
single.

Text.

No. 259. When the suggestion arises from
the power of a word and a meaning, Suggestive
Poetry is olie (§250).

Commentary:

a. When the suggested sense is founded on the power of both
together , there is only one sort of Suggestive Poetry, as —

“ Madhava (i. e. Krishna or Spring) ornamented with the lotus,*
and beautiful like (or with) the moon free from mists, who gladdened
the Twice-born (the Brahmans or the birds,) who generated Levy
(the deity or the passion), and who cheered the gods (or purified
winef) — long was he the great delight of the beautiful women.”

Here we have the ornament of Simile, viz. 4 Madhava or Krishna
is like Madhava, the Spring,’ suggested by the power of the mere words
* dwija (a Brahman or a bird,) 4 Madhava,' % Sfc, and of the smses of
the words 4 j a n it a-m in a k cl ana (who generated Love,) Sfc.

h. Thus, the divisions of Suggestive Poetry arc founded on the
divisions of the Suggested Sense.

Text.

No. 2G0. So Suggestive Poetry is eighteen -fold.

Commentary.

The eighteen main a. 4 That in which the expressed sense is not
gest i ve Poetry) smn- desired to he conveyed’ is two fold, viz. (1) 4 That
med up. in which the expressed sense passes over into

another’ and (2) 4 That in wliigh the expressed sense is made to dis-
appear entirely.’ 4 That in which the expressed sense — tending to
another — is desired to he conveyed’ is single, when it is ‘ That in which
the Suggested is of imperceptible process’ — and is fifteen- fold, when it
is 4 That wherein the Suggested is of perceptible process’ founded on
the power of a word, a sense and of both.

Thus there are eighteen varieties of Suggestive Poetry.

I . And of these —

* Or as qualifying 4 Krishna /—' 1 associated with Lakshini/ _

f Wine is buried in Asliadha (Juno, July) and is dug out greatly improve
In the Spring. . .

I These cannot be exchanged for their synonyms, without an alteration !
the sense of the passage, whilst ‘ jauita-imnaketana, &c. can: so the DeulJ ^
Entendre is founded partly on words and partly on sense.

The Mirror of Composition . 1 19

Text.

No. 2C1. Tlio Poetry of Suggestion founded on the power of
word and of meaning dwells in a sentence only ; the others reside
in a word and a sentence.

Commentary.

a . Among these latter , 4 Suggestive Poetry wherein the expressed
sense passes over into another’ existing in a word — as —

“ Blessed is that youth alone and his eyes are eyes indeed, in whose
presence will he this lair-faeed one — this enchantment of young men.”

The second 4 eye’ here implies an eye characterized by the equalities
•of being fortunate, <fce.

b. The same residing in a sentence is exemplified in —

“ J cell you (twain asmi vachmi) — here stays an assembly of the
learned, so make your stay here, having collected your wits.”

Here, from the very presence of the addressee before (ha addresser ,
the fact of his being the person addressed is understood, yet the word
twain ‘you’ is used here to indicate the sense of 4 you’ (qualified by the
exclusion of others (or more briefly, to signify you exclusively.)
Similarly, from the simple word 4 vachmi 1 (dice) the agent is under-
stood, yet the expression ‘asmi’ (1) indicates the sense of 4 P qualified
by the exclusion of others. Likewise, as hy simply saying * An
assembly of the learned, &c.’ the speech of the addresser might b,*
fulfilled, the expression 4 vachmi’ (‘ I telly which taken in its literal
or Expressed sense is superfluous) convoys by its power of Indication
the sense of 4 1 advise’ implying a particular form of telling. These
things being indicated, suggest their 4 exceed bigness’ or are forcibly
understood : so the purport of the whole sentence is this — 4 my word
is extremely friendly to you, you must therefore do ill Thus it is
on instance of 4 Suggestive Poetry in which the Expressed passes over
into another meaning’- — residing in a sentence.

c. 4 That wherein theExq>ressed sense disappears entirely’ — dwelling
in a word — , as —

44 Like a mirror, blind with the breath, the moon shines not”
(§253, e).

d. The same, in a sentence —for example — “ Much benefit have
you done &c.” (§15. a )

e - The others (viz. the varieties of the Poetry of Suggestion in
which the Expressed— lending to another— is desired to be conveyed)

150 The Mirror of Composition .

as residing in a sentence, have already been exemplified, (§257, 25S
and 259)*

f As residing in a word, they are exemplified as follows : —

The Suggestion of impehceptlble phocess.

A Flavour suggested.

“ That beauty, that loveliness, that form, that address were then full
of nectar, but alas ! now (in absence ) they are a fierce fever to me*
Here, the prominence belongs to the pronominal words ‘ tat* &c.
only (—which all correspond to 1 that'—) being suggestive of the
beauty Slc. as they were then perceived and as passing description.
The other words being only subsidiary to them, the claim of the above*
stanza to the title of Suggestive Poetry is founded on them only.
To this effect, has it been declared by the author of the 1 Dlnvani’ :

“ Like a beautiful woman with a single member ornamented, a
sentence of a good poet shines with Suggestion displayed by a single
word.”

Similarly is it to be understood with respect to Incomplete Flavour
how they are principal! g suggested by a word.

Suggestion or pekceptiule phocess — founded on the rowEit op

A WO It I).

A matter suggested.

“ In whom does not the good scripture (or the arrival of a good
man) produce a How of joy — causing, as it does, temporal as well as
spiritual happiness, f and leading to retirement.”

Here the word ‘ Sadagama’ [sat, — good + agama, scripture or
arrival] expressing to the secondary hero (i. e. her lover) staying near
the female speaker the sense of 4 good scripture’, suggests the matter
viz. the arrival of a good man.

But — as some one might object — why should it not he held as an
instance of the suggestion of a Simile, viz. ‘ good scripture is like
the arrival of a good man ?’ To this ice reply : Not so, because tin:
two significations of the word ‘ Sadagama’ are not desired to be spoken
of as Iteing in the predicament of the compared and what is compared
to, for the employment of the equivocal word is only for the coneeal-

* ThesuVi. division of the Erotic Flavour, technically called ‘Love in separation’
($212,) is what is suggested in this stanza. , „

' + In respect of the arrival of the * good man/ tho word in the ongumM'"
temporal and spiritual happiness viz. * hhukti and * xnukti’ mean respccLiu )
enjoyment and freedom from domestic business,

The Mirror of 'Pomposition.

incut of the secret of her love for the so-called pood man , and because?
the incongruity here of speaking of the good scripture is evident from
the consideration of the circumstances of the case, &c.

An ornament suggested. .

“ With wisdom unrivalled, and protecting the whole earth, indescrib-
ably shines in the world that monarch — that best of persons/*

Here is the suggestion of a Simile viz. the best of personages
(purushottama) is like the Supreme of persons or Vishnu.

In these two examples are exhibited the two distinctions of tlio
►Suggestion of perceptible process arising from the power of a word.

►Sr QUESTION' OF PERCEPT! RLE PROCESS, ARISING FROM THE POWER

of a sense. The Self-possible sense.

Matter suggested by Matter.

“ In the evening thou hast had recourse to bathing and anointed
thv body with sandal ; the Ethereal Gem (the Sun) has reached the
crest of the Western Mountain (the mountain of setting -Astachala),
and thou hast securely come here. 0 ! wonderful is the delicacy
about thee, through which thou art exhausted NOW ! and thy eyes
cannot remain, without being constantly closed/*

Here by a self-possible matter is suggested the matter, viz. ‘ Thou
hast bathed having had intercourse with a lover/ The word ‘now*
intimating, as it does, that L thou art now exhausted, but never before
was such an exhaustion of thine seer/ is more prominent than the
other words, inasmuch as this intimation sets oil* the signiiicancy of
the other words.

Ornament suggested by matter .

“ Another milk-maid, confined, obtained Emancipation (or final
salvation), meditating upon the Origin of the Universe (Krishna)
whose true form is the Supreme Spirit — her endless sins having been
dissolved by her mighty pang in not obtaining him, and the store of
her good deeds having been wasted away by her exuberant joy in
reflecting on him.”

Here, by the force of the words ‘ endless’ and ‘ store’ the pang of
separation from the Holy One and the joy of meditating on him are
recognized as identical with the immensity of the fruits of merit and
demerit to bo experienced for many thousands of years ; so our recog-
nition of the two Hyperboles (atis'ayokti) is occasioned by the words
‘endless* and ‘store*. The Suggestive matter hero (viz. the Emanci-

152

The Mirror of Composition.

pation of the milk-maid in the manner described), being possible
independently of a ‘ bold assertion’ or not merely in the Foct's imagin-
ation *), is self-possible.’

TlIE SENSE ESTABLISHED BY THE POET’S BOLD ASSERTION.
Ornament suggested by Ornament.

“ 0 Sire, Gang a who flows through three ways only (or Heaven ,
Flarih and Fatal a), conceals herself, through shame, on Mah&deva’s
head, as she beholds the river, formed of the waters poured in thy
donations, streaming through innumerable passages.”

The couplet is mine. Here, the expression 4 as she beholds &e.’
which is an instance of the figure of Poetical Reason (Iviivya-linga,
§710) established by the poet’s bold language, and particularly the
word i innumerable’ suggests the ornament of Contrast (vyatireka),
viz. ‘ there are no other donors equal to thee,’ or i thy liberality is
mighty — that cf others , insignificant .’

Thus may it be exempli fled with respect to the other divisions also of
the Suggestion of perceptible process arising from the power of a sense.

The said eighteen g t So, among the said eighteen descriptions of
Poetry, with one ex- Suggestive Poetry, that founded on the power of
a word and a meaning is one, being possible only
in a sentence, whilst the other seventeen being
possible both in a sentence and a word become
thirty-four : thus we have thirty-five divisions
of the Poetry of Suggestion.

Text.

Suggestive Poetry No. 202. *The Suggestive Poetry founded on

founded on the power the power of ft sense is considered by the learned
of a sense, possible . , ., . . . . . ...

also in a Great Sen- to be possible, also in an entire composition.

tcnco.

ccption, being further
sub-divided accord-
ing as they abide in
a sentence or a word,
there result thirty-
five varieties.

Commentary.

a. 1 Entire composition’— in a Great Sentence.

b. 1 Suggestive Poetry founded on the power of a sense’ i. e. the
kind whereof the twelve divisions have been mentioned.

c. The following dialogue between a vulture and a jackal in the
Mahabhdrata (S'anti parvan, si. 5075 — 5800) is an example : —

Vulture— “ You need not stay longer in this horrible cemetery
crowded with vultures and jackals, abounding with skeletons, and
* Seeing that the All-merciful God could give them salvation so easily.

153

The Mirror of Composition .

fearful to all that breathe : nor has any one subjugated by Death,
revived here, whether beloved or hated: such is the condition of
animals.* *

It was the wish of the vulture that the men staying with the dead
child might leave it there in the day-time, and depart.

Jackal — “ Fools ! the sun is yet up, be tender for the present mo-
ment : this time of evening has many obstacles, and the poor boy may
revive when it is over. How should you, O ignorant men, from the
vulture’s word, leave unsuspectingly that boy shining like gold, who
has not yet attained to youth.

To the jackal who was active at night, the quitting of the boy
during the day was ndt desirable. These two facts are suggested by
the collective sentence formed of a number of such alternate discourses
of the two carnivorous philosophers . The suggestive matter here is
self-possible.

d. Similarly might the other eleven distinctions be exemplified.

e. Thus has the Suggestive Poetry founded on the power of a sense
been exemplified in all its twelve main distinctions (§258), and some
of its sub-divisions, when the expressed meaning is the suggester.

f When the Indicated meaning is the Suggester we may take for

Suggestion from an example—" The border of thy breasts has lost
an Indicated sense. the whole of the sandal wood Ac.** (§27. c ).

Suggestion from a 9- When the Suggested meaning is the Sug-
Suggcstod sense. gegter — for example — “ The crane stands unmoved

&c." (§27. d ),

In these two example* the respective indicated and suggested
meanings are * self-possible^’ suggesters.

h. Similarly,- might the other eleven divisions (§258) be exempli-
fied in the case of an indicated or a suggested sense being the
suggester,

Text.

Suggestion of Im-
perceptible process
may come from parts
of a word, letters,
stylo, and an entire
composition.

No. 263. Suggestion whereof the process is not
clear or ‘ Suggestive Poetry wherein the Suggested
is of imperceptible process’ is possible in the
several parts of an inflected word (pada), in the

letters, in style, and in an entire composition.

154 The Mirror of Composition .

Commentary. .

Of these, that residing in the parts of a word —

— is manifold, from the distinctions of the radical part, the affix,
the prefix, a particle, &c. ; as may be exemplified in the following
stanzas : —

“Thou touchest frequently those trembling eyes with quivering
comers ; hovering near her ear thou hum most softly as if to speak
some secret ; thou sippest that under lip — Love’s whole property, as
she waves her hand in confusion — blessed art thou indeed, 0 honey-
maker ! whilst we are killed by our scrupulous search after the truth
as to whether she is really Jit to be married by a Kshattriya .”

Here (in this speech of Bushy anta in respect of SakuntaU , in
Kaliddsa s drama) since the expression YWT* (we are killed) is used
rather than ST7PW: (we are distressed '), the suggestion of the
king’s * love in separation’ particularly comes from the radical part
of the word TffT:

“ The face of her with long-lashed eyes, turned to the shoulder,
with lips repeatedly covered by her fingers, doubly charming, as she
in the confusion of coyness uttered the syllables of forbidding — was
with difficulty raised by me, but oh ! not kissed.”

Here, the suggestion of the king's regret at not having kissed his
love SakuntaU originates (chiefly) in the particle g (but).

“ For this indeed is an utter contempt of me that there are foes
Ac.” (§2. /). In this stanza the following are suggestive : — the plural
number in (foes) ; the singular number in cTTSW (anchoret) ;

the pronoun (here — in this^ place) ; the verbal inflection

(present, 3rd sing.) in (slaughters) and sjfafa (does live) ; the

indeclinable (0 wonder !) ; the diminutive nominal affix (taddhita)
qr used in contempt in the word (poor villages) ; the prefix

fa (implying particularity) of the word fa^OT (plundering, ‘ carrying
off the spoils’), and the plural number in (from these arms).

“ Thou hast a distaste for food (^I^TT farcftfi), and an utter indif-
ference to the whole set of objects, thy sight is fixed at the end of thy
nose, and there is this further that thy mind is abstracted in medita-
tion, and there is this silence with thee, and this world now absolutely
appears empty to thee ; so say, friend — ho ! art thou indeed an ascetic ?
— or rather a separated lover art thou f”

The Mirror of Composition . 155

Here the locative case, in the sense of t object,’ of the word WT!*
(in food) ; — the two epithets WVT (whole) and (utter) the
pronoun i n ( an d this silence) that refers to a thing

under actual perception and consequently marks a peculiarity in the
lady's silence ; — the prefix VTT in vnVTftr (absolutely appears) ; — the
word vfii (friend) that reminds her of worldly love which is foreign
to the character of an ascetic ; — the jocular expression Vffo VI* (art
thou, ho !) ; the particle (or rather) in *T that hints the strength
or probability of the latter supposition viz. Thou art a separated
lover ; — the present tense inflection of (thou art) — to each of
these belongs a suggestion peculiar to it and to be perceived only by
the man of poetical sensibility.

b. Suggestive Poetry in Letters and that in Style (§263) shall be
exemplified in chap. Sth and 9th respectively.

c. Suggestion in an entire composition is such, for example, as the
Quietistic in the M ahdbhdrata, the Pathetic in the K&mavapa, the
Erotic in the Mdlati Madhava of Bhavabhuti 7 the Ratnavali of S rx
Harslia &c. :f so in the others.

Text.

No. 264. Thus then of Suggestion wo have

5355 subdivisions 7 i n

of Suggestive Poetry, fifty-one divisions : these from the threefold Com-

finally obtained. mixturo (see §757) and the uniform Conjunction

(see §756) make up the number marked inversely by the quadruple

Veda, the empty Ether, the triple Fire as kept by the Br&hmans, and

the Jive Arrows of Cupid, i. e. 5301, J which together with the pure

* The expression VTOTT f*PCfv : ( distasto f° r food) is nsed here rather than
ftxfa* (cessation from taking food). It therefore suggests ‘ Thou
hast given up eating, simply from mental distress, unlike a hermitess (Vlfapft)

who purposely desists, but not altogether, from taking food, simply because too
much eating is an obstruction to hor wished-for emancipation from ‘this
mortal coil.’ _ _ , . .

t Those being the main sentiments of the poems and dramas respectively are
held to be what aro suggested by them j the other passions or feelings acting as
ancillary to these principal ones. #

t As each of the fifty-one sorts admits of being combined, m four different .
ways, with a similar kind as well as with the fifty other sorts,— the sum, which
in Algebra is one of Combination when two and two are taken together, may
thus bo explained : —

(61X4)+ (^-) 4 = 5304.

166 The Mirror of Composition.

ones attain to the number signified inversely by Arrow, Arrow, Fire
and Arrow, or 5356.

Commentary.

a. 1 Together with the pure ones’ — i. e . with the addition of the
fifty -one pure divisions.

b. Apart of the compound sorts (see the Text) is exemplified in

the following stanzas ; — **

The Commixture “ With breasts extremely raised and with eyes
^abidir^ 6 intimately large and tremulous, she, standing at the door to
together.* hail his (her husband’s) arrival, holds the auspicious

omens of the full jar and the collection of garlands on the gate arch,
brought about without effort.” %

Here the breasts of the lady being hinted at as being the full jars
and her looks as the garlands of fresh lotuses — which are auspicious
omens displayed at the gate to one returning home from a distance , wo
have a Commixture of the Suggestion of Metaphor and that of Flavour
(viz. Love in enjoyment) as ‘ abiding intimately together’ (see §757.

c.) or as implied in the same expressions.

The Conjunction of "Those spring days cheer the heart— when
Suggestions. hees increase their hums for joy — but alas ! when

the heart of the distant lover* shudders — when the winds are proud of
their intimacy with the fragrance of the lotus faces of those with
countenances like the moon without drowsiness.”

Here we have the Conjunction (§ 204) of Suggestions founded on
Indication (§20, 27. c) viz. those in the expressions 4 without drowsi-
ness,’ 4 intimacy,’ &c.

e. Now of the Poetry named 4 That wherein the Suggested is
subordinate’ t (see §250).

Text.

The inferior sort of No ' 265 ' WhiUt the Poetr y of Subordinate
Poetry, that of Sob- Suggestion is the inferior sort, in which the Sug-
ordinate Suggestion, j g no t more striking than the Expressed.

CoMMENTABY.

a. ‘ The inferior sort’ — t. e. the inferior sort of Poetry.

* Lit. Traveller.

+ ‘ Poetry of Subordinate Suggestion’ would be a more manageable term,
though less literal in rendering.

157

The Mirror of Composition.

b. The circumstance of the Suggested meaning's being not more
striking is possible, both when it is inferior and equal to the Expressed.

Text*

Eight-fold division
of this, according to
the ways in which
tho Suggested is Sub-
ordinate.

minence/ ‘ obscure,’

No* 266. In this second rate Poetry, the Sug-
gested may be * ancillary to another/ ‘ hinted by
the tone/ * subservient to the completion of the
Expressed/ * o^doubtful prominence/ ‘of equal pro-
‘ unconcealed/ or * not beautiful thus there are

reckoned eight divisions of it.

Commentary.

a. i Ancillary to another’ — i. e . to another Flavour, or the like.

b. When the Suggested in the shape of a Flavour or the like is
Ancillary to some other Flavour or tho like, we have tho following
examples : — •

The widow of Bhuris'ravdh laments her husband hilled in battle ,

thus : —

0 . , “ This is that hand which drew my girdle ;

The Suggested, '

‘ancillary to another,* which pressed my plump breasts ; which touched

exemplified. m y navel, thigh and hip ; and which loosened the

end of my waist-cloth.”

Here the Suggested Erotic is ‘ ancillary’ to the Pathetic.

Another example. “ Alas ! how do the lovers fare in the series of
the palaces of thy enemy’s capital, when their ears are tormented with
the sudden tumult of the ocean of thy army, as they are seeking to
propitiate their beloved ones elevated with pride.”

Here, the Pathetic heightened with the Conjunction (see §249) of
Longing and Alarm is ‘ ancillary’ to ‘ Love having a king for its
object’ (§245).

“ I have wandered in the abodes of men or in the part

called SFTOPr of the Dandaka forest), with my mind filled with the
mirage of gold (or with the desire of the golden deer) ; at every step
have I, with tears, cried ‘ 0 give !’ (or 0 Sita !) I have fawningly
interwoven my words with the texture of those of bad masters (or have
fastened arrows to the series of the heads of Lank&’s lord) ; oh I
have become Hama, but not obtained an affluent fortune (or have not
obtained her — Slid — whose sons were Kus& and Lava). ’

Here even without the expression * I have become Hama, the
speaker’s verbal identity with him might be understood by the power

158

The Mirror of Composition.

merely of tlie other words as arranged in the stanza . But the express
declaration, manifesting, as it does, the speaker’s identification of him-
self with Kama founded on his verbal resemblance to him , removes the
concealment of the resemblance ; hence the almost Expbesseh resem-
blance ( — though meant to be Suggested— ) being made to show the
logical connection in the sense of the sentence* is reduced to being
subservient to the Expressed sens%
c . The Suggested sense , ‘ hinted by the tone’ — as —

The Suggested, “ I am not destroying, with wrath, the hundred
* hinted by the tone.’ Kauravas in war, I am not sucking the blood of
Dus's asana from his breast, I am not pounding with my club the
thighs of Duryodhana — let your king make peace with them on the
condition of receiving the five poor villages” t

Here the Suggested viz. ‘ I am to destroy’ remains in intimate con-
nection with the Expressed denial, or in other words , is conveyed
simultaneously with it.

The Suggested, d. “ 0 king of kings, this thy power, the forest

* ancillary to the com- fl ame 0 f the enemy’s family burns in every

pletion of the Ex- , , , ,

pressed.* direction, illuminating the space between heaven

and earth.”

Here the Suggested, viz. the ascribing the nature of a bamboo to
the family of the enemy (through the equivocal which means a
bamboo also) is ‘ancillary’ or subservient to the ascribing of the
character of the forest flame to the power of the king.

The Suggested • of «• The Suggested ‘ of doubtful prominence’—
doubtful prominence.’ as f or example in the verses beginning ‘ But Siva,
like the ocean* (§245. g), where we have a doubt as to which of the
two notions, whether the Expressed busying of the eyes, or the Sugges-

ted desire of kissing is prominent.

The Suggested «of f “ It will be to your own prosperity, if you
equal prominence.* avoid insulting a Brahman — else Paras'u K6ma

your friend becomes displeased.

* For the connection between the sense of the clause * I have become R&ma
and the first Bense of fcho main stanza is only seen when we observe that a resem-
blance is suggested by a play upon the words : thus the Suggested sense i
ancillary to the Expressod. m x

f The stanza is evidently an example of tho third sort (see the Toxt) strange y
introduced here, though another instance of tho same occurs at the proper plac •
The Commentator does not even notice the incongruity. Is it meroly from
author’s oversight ? . . _ nllg

J This is a minister's advice to Havana, dissuading him from his danger

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The Mirror of Composition .

Here the Suggested, viz. Paras 'u Rama will destroy the Giant race,
and tho expressed signification of the sentence are of equal prominence,
inasmuch as they loth equally tend to the advice — 4 You ought not
to be hostile to Raras'u Rama'

Tho Suggested, 9 • “ In peace there is the seizure of my whole

1 obscure.* property ; in war, the destruction of my life —

there can bo neither peace nor war^with king Anwapadma.”*

Here the Suggested sense viz. 4 There is no means of pacifying the
king named Anw&padina, except conciliation, presents, or the like, is
not quickly perceived even by the erudite.

* Tho Suggested, A. “ By this Instructor of mankind, the Ex-

• unconcealed. pounder of the duties of the good, I a virtuous

female have freeRr been — what need is there of saying more.’*

Here S'dkya Muni’s ravishing the female of an inferior animal,
though suggested, fares from its extreme clearness like an expressed
idea. Hence it is an instance of the 4 unconcealed* Suggestion.

Tho Suggested, “ The members of the young woman, en-

‘ not beautiful/ gaged in domestic business, languish as she hears

the noise of the birds that had flown up from the bower near her
house

Here, the Expressed sense in 4 the members languish, (i. e . through
the eagerness of love)' is perceived by the man of taste to be more
striking than the Suggested one, viz. 4 some one previously appointed
entered the bower so it is an example of the Suggestion designated
i not beautiful/f

A circumstantial
Suggestion, but a sub-
ordinate Suggestion.

j. Now, an ornament such as the simile, sug-
gested, for instance, in the Figure Dipaka or the
Tulyayogita (see Chap. X. Texts 695 and 696)

attempt to overcome tho terrible destroyer of Kshattriyas, who was yot a friond
to him.

# According to some, the name is Allapadfna, being that of a Muhammadan
kmg.

t Let tho roador be here cautioned against supposing, as ho naturally would
do, that all theso examples aro intended to bo distinctive instances of what they
are cited to illustrate. Tho present distich, for example, might, under one
view, be considered as an instance of the first rate or Suggestivo Poetry, inas-
much as the strikingness of tho expression * the members languish* rests on tho
Lovo in separation,* a division of tho Erotic Flavour (§212), that it suggests .
moreover, it is impossible to believe that the more than 5000 divisions of Sugges-
t' f r° Gtry Can or an y considerable portion of them, bo distinctively illus-
dfer * 7 Th ° object in the divisions soems therefore, to mark, not

Minct classes, but distinct properties or circumstances.

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The Mirror of Composition.

is no other than a subordinate suggestion, inasmuch as a piece of
Poetry with one of such embellishments strikes us simply through
that, and not as suggestive of the Simile or the like that is only inci-
dentally insplied .

To this enect has it been said by the author of the * Dhwani’ —

“ A piece of poetry is not held to be suggestive, even if an ornament
besides an expressed one is recognized therein — in case the piece does
not expressly tend to it.’*

Suggestion, laid That a ^ s0 * s an instance of a subordinate

open, becomes subor- suggestion where the beauty of concealment, or
covert , implicative speech , is destroyod by a word
or the like. For example —

“ i 0 Kesa va ! my sight stolen by the dust raised^pj the cows (or
by my love for a cowherd — arnTTW — ) I saw not aught, and thence,
lord, I have fallen down : wherefore dost thou not hold me up — thou
art the sole refuge of all the weak with minds troubled by hardships
(or the fair ones troubled by him of the five arrows*)’ — thus spoken
to equivocally by the milk-maid, may Hari in the herd-station ever

preserve you.”

Here, the suggested significations viz. * love for a cowherd’ &c. of
the words SnrCT* <fcc. appear manifest (or with their poetical cover

opened) by the word * equivocally :* leave out the word and it is Sug-
gestive Poetry.

Poetry of subordi-
nate Suggestion be-
comes Suggestive
Poetry, when with
a principal Flavour
besides.

1. A passage, however, which has its suggested
meaning in the shape of a matter, an ornament or
a Flavour the like in a subordinate condition,
but which has a principal Flavour besides, is con-

sidered Poetry in respect of this latter Flavour. This has been declared
by the same author that is quoted above, thus —

u This description of Poetry, again, viz. that of a subordinate sugges-
tion assumes the nature of Suggestive Poetry from the consideration
of its tendency, (if any,) to develope a Flavour or the like.”

A circumstantial m. But as one might object— what is the

suggestion of Flavonr, uge 0 f recognizing this second division of Poetry,
the true constituent ' _ „ . ^ i„ ir

of the inferior Poetry, when it may finally rank as Suggestive roetry

on account of the Flavour principally Suggested ? — the author points

out as its subject such pieces as have no flavour in them principally

* Lit. lie that bears an odd number of arrows, or Kdmadeva.

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The Mirror of Composition.

suggested, and are yet held as Poetry in respect of one subordinately
or incidentally suggested. The following is an example —

u Where the red gem (ruby), producing, with its heaven-licking 5 *
rays, the delusion of evening in the love -intoxicated fair ones, employs
them even untimely in making the toilet of Cupid, (i. e. the dress most
fitted to charm their lovers).**

Such sentences as this, where a Flavour or the like is ancillary to a
simple matter in the shape of circumstances attending a city, or of the
like, are reckoned Poetry on account only of that Flavour or the like %
subordinate though it be, as being not the principal or direct object of
description in such cases. To this effect lias it been said by our blood-
relation, the chief of poets and scholars, the venerable Chandidasa —
Helish alone,* tho * At the moment of relishing a poetical senti-
■csscnco of Poetry. ment when we are absorbed in it, we cannot per-
ceive of it — apprehensible as it is by an undivided imagination—
whether it is in a subordinate or a principal condition ; but afterwards
( i . e. when we come to criticise the piece) on our reflecting on the
circumstances of the case, though it should be discovered that the
sentiment is tut collaterally suggested , this circumstance cannot
destroy the claim of the sentiment to the title of Poetry, for that
depends on relish alone.*

A third kind of n - Some ( NammatAchdrya , the author of the

Poetry, the Fancitui, Kfivya-prakfe' a) would have a third species of

recognized by some . . . 1

—no Poetry. Poetry, viz. the Fanciful (eliitra) ; hence he says

— “ That Poetry which is without Suggestion is reckoned as the lowest

sort — being either * Fanciful in sound’ (s'abdaehittra) or ‘ Fanciful in

sense’ (vaehyacliittra).” Hut ice say— it is not so, for if by the

expression ‘ without Suggestion* is meant £ totally wanting suggestion,'

then, as we have already declared, such a sentence is not Poetry at

all ; if by the expression is meant 6 a little, or sliyhlly Suggestive/

I ask — what do you mean by poetry being a little suggestive ? Ho

you mean by it poetry that has a Suggested sense relishable, or poetry

that has a suggested sense not relishable ? If you mean the former,

then it falls within the two divisions made before ; if, the latter, it is

Not Poetry. Besides, taking the former for your meaning , if the

Suggestion is relishable, it cannot be little or slight , for if it is so, it

cannot be relishable. This has been said by the author of tho

* Lit. Cloud- licking.

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The Mirror of Composition.

, Dhwani :* — ' Thus there are settled two species of Poetry, from the
suggested either being in a principal or a subordinate condition : what
is other than these, is styled the Fanciful/

o. So much for the Declaration of the divisions of Poetry, styled
4 Suggestive* and 4 That of a Subordinate Suggestion* — the fourth
chapter of the Mirror of Composition.

CHAPTER V.*

The establishment of the function of Suggestion .

Now, what is this new power, named Suggestion, /row which originates
the essence of poetry — viz. what is Suggested f

To this question he proceeds to reply—

Text.

What power con- No. 267. There must be acknowledged a
veys Flavour. fourth function, exerted in causing the perception

of Flavour and the like, after the cessation of the functions named
Denotation, Purport, and Indication (§11, J3 and 31).

COMMENTARY.

Denotation, not it. a. Denotation has not the power to give us
the perception of a matter, an ornament, or a Flavour or the like,
suggested — ceasing, as it does, after conveying the conventional
(i. e. the literal) meaning only ; rfor Flavour &o. are not matters of
convention. Nor is the denoting or representation of the Excitants,
&c. a denotation of Flavour, for we do not acknowledge its identity
with them. Moreover, on the contrary, to signify it by its own
name is a fault, as we shall see afterwards , (Chap. VII. §577).

, Sometimes even when it is signified by its own

Flavour, not per- ° \

ceived by a mere name, we do not perceive it — for it is of the
mention thereof. nature of self-manifest joy.

# The substance of a considerable part of this Chapter may be given thus

Ideas or Notions are what are conveyed by words, severally, through their
power of Denotation. These, put together into a sentence, convey a complete
Thought, through the supposed power of fcho sontence, styled Purport. Now*
Consistently enough, another power in the words must be resorted to, to account
for the pleasurable sentiments, collectively spoken of as Flavour, consequent
upon, and therefore distinct from, the simple thought.

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The Mirror of Composition .

Suggestion, not That Function entitled . 4 Purport* (tatpary a)

^l’urport’ of^he Nai° * s acknowledged by those Naiydyikas # who

yayikas. hold that the logical connection among the notions

belonging to the several words in a sentence is apprehended after they
are severally conveyed — that Function even, being exhausted in simply
making us apprehend the connection, does not convey the Suggested
sense.

c . As for the assertion of some — 4 Such is the more and more exten-
sive function of Denotation, like that of an arrow first piercing the
armour , then the hotly , and then perhaps a tree f — and also as for the
declaration of Dhanika, viz., ‘ The Suggestive power of a word being
no other than Purport, it is not to be distinctively called Suggestion,
for Purport which extends to all the functions is not to he supposed to
he measured by the balance (or confined to the single business of
making us understand the connection in the meanings)? On these two
objectors let those let fall the rod of refutation who hold that Word,
Perception, and Action have an annihilation of their business or oper-
ation , (as far as that individual case is concerned ), when they have
ceased after producing their respective single effects. Moreover, on
the supposition of the former of these two writers , what need is there
of having recourse even to Indication, since the sense, conveyed by
that power , also might be understood through the more, and more
extending function of Denotation P Why do not you as well say that
joy and sorrow, for instance, are conveyed through Denotation to the
addressee by such a sentence as this — 4 A son is born to thee, O Brdh-
man, and thy unmarried daughter is pregnant.’

* They aro called Abhihit6nwaya-v£din$ in contradistinction to the Anwita-
bhidliana-vadins, the followers of the Mimansa school of Philosophy who (the
latter) held that no meaning in severalty is conveyed by any word, or no notion
exists but in connection with another ; so that then only do words really mean any-
thing when they are joined into a sentence. The men of this school deny the
necessity of supposing a Function, distinct from Denotation, viz, the Purport,
as belonging to the wholo sentence. For, in their opinion, all notions (or,
meanings of separate words) being, of necessity, connected, — such a Nominative
with such a verb only brings to our mind such a particular Thought. This
opinion would, at first sight, appear absurd, but, in truth, it is founded on a
Btrict analysis of the manner of our conceiving ideas. This will bo evident if
we only try to form the notion of an action (the meaning of a verb) without
, connecting it, at the same time, with that of an agent, and vice versa. In fact,
this theory looks somewhat similar to Berkeley’s denial of abstract ideas,

r 2

164 The Mirror of Composition .

d. As for the assertion — i All sentences, whether human or divine,*
tend to some purpose. Not tending to one, they ars not acccptabl 0
or useless, and consequently are like those uttered by a mad man
Hence, as there is no other motive to bo found, than the relish of
exquisite joy, actuating the hearer and the chanter of poetry towards
their respective occupations, it is the relish of exquisite joy that is
held to be the purpose of the sentences of poetry, according to the
rule — what a word tends to is its purpose. Here it is to be asked —
What do you mean by the expression — 1 A sentence tends to a pur-
pose ?’ Do you mean by it, («) ‘ a sentence has a thing for its pur-
pose,’ or (6) 1 a sentence causes the notion of the thing by the function *
called Purport ?’ — If, the former (a), there is no dispute between us,
for a thing, though suggested by, may yet be the purpose of, a
sentence. If, the latter (&), I ask what is this function entitled
Purport ? Is it what is admitted by those (see §2(>7. b. and note)
who hold the * connection of the expressed’ (abhihitanwaya) — or any
other power ? If it is the former, we have already replied ; if, the
latter, the dispute is simply upon a name, for according to this opinion
also there is a fourth function established,

e. But if you say — c well, let the perception of the connection
among the Excitants, &c. and that of Flavour or the like be simultane-
ously caused by the power of Purport’ — that is not possible , for they
are held to be in the predicament of cause and effect— as says the
sage — * The production of Flavour takes place from the association of
the Excitants, the Ensuants, and the Accessories.’ And, how can
they be related to each other as cdhse and effect, if the two perceptions
should spring up together like the right and left horns of a beast, when
there is an absence of priority and subsequence necessary to a cause
and its effect respectively .

Indication, no f ^or can that power of words , styled Indi -
source of Suggestion, cation , be supposed to convey the suggested sense. ;
for in such a sentence, for example, as ‘ The herd-station on the
Ganges’ how can Indication convey the suggestion of coolness and
purifying power, whilst it ceases from any further operation , after
conveying such a sense, merely, as the bank ?

* Human Sentences— works by man, such as the Laws of Manu. Divine.
Sentence*— the Word of God, i. e. the VedaB.

The Mirror of Composition .

165

g. Hence, it is not to be disputed that a fourth Function must bo
had recourse to,

h. Moreover—

Text.

The Suggested, No. 268. The Suggested sense is distinct

distinct from the Ex- f rom the Expressed, by reason of the difference, of
pressed in many f . r

wa y fl . its perceiver, nature, number, occasion, effect,

perception, time, location, addressee, &c .from those of the Expressed .

Commentary.

It is distinct as to a: There is a distinction between the perceiver
tho Perceiver. 0 f the Expressed sense and that of the Suggested,

as the former is perceivable even by Grammarians expert merely in
the knowledge of words and their meanings, whilst the latter, only
by the man of sensibility.

It is different as to The Suggested is sometimes in the form of

its Form. a prohibition when the Expressed is in the shape of

an injunction, as, for example, in — 4 Stroll securely, 0 devotee, See. 9
(§253. g.) ; sometimes it is in the form of an affirmation whilst the
latter is in that of a denial, as in — 4 The border of thy breasts lias lost
the whole sandal-wood &c.’ (see §27. c.) : hence there is a distinction
as to their natures.

It is distinct as to c - In such a sentence as — 4 The sun is set’ —
tlio Number. one on iy expressed sense is perceived, whilst the

suggested sense is not one, being — according to the various descrip-
tions of the perceiver (/. e . the addressee) thereof — sometimes thus—

* Jiesort to your lover,’ or — 4 Let the cows be bound,’ or — 4 This is the
time of thy lover’s arrival,’ or thus — 4 There is no heat now hence
there is a distinction as to the number.

Tho Suggested, ap- & The Expressed sense is to be understood

prehonsible ouly by on the mcre utterance of the words, whilst this —
a reniied intellect :

not so the Expressed, j Suggested sense is perceivable through that pecu-
liar refinement of the intellect and the like : thus is there a difference
as to the occasion or means of their apprehension.

The Suggested, dif- <?• The Suggested sense brings surprise, whilst
ferent as to its effect. Expressed , a mere cognition : so they are

distinct as to the effect.

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The Mirror of Composition

f. They are different as to the apprehension,
the Suggested being surprising in apprehension ,
and the other being of a simple nature.

g . There is a distinction in respect of time,
the Expressed being perceived first, and the Sug-
gested, afterwards.

h . There is a difference in location, the former
residing in a word only ; the latter, in a word, its
parts, and its sense, in letters and in style.

i. “ Who would not be angry, to see the lip
of his beloved with a wound ? Endure now tlie
reproaches of thy lover, perverse as thou wert in

smelling the lotus containing a bee — though prohibited by me”

In this example (where a female friend speaks to a woman with her
lip bitten by a secondary hero , when her jealous husband chides her for
it) — the expressed sense is addressed to the friend, and the suggested
to her husband : So there is a difference as to the addressee.

The perception of
tho Suggested, min-
gled with surprise,

The Suggested, ap-
prehended after the
Expressed.

The Suggested, dis-
tinct as to its Loca-
lity.

Tho Suggested,
different as to the Ad-
dressee.

Text.

No. 269. Indication and Denotation are not the causers of the
perception of Flavour or the like ; since it has no existence before
being felt, or in other words , it is a subjective entity , and Us existence
consists in being felt (§51). Moreover, Indication (cannot produce
the perception thereof) when there is no cancelling of the primary or
the Expressed sense (see §13).

Commentary.

a. i Cannot produce the perception thereof — supply m this in the
Text after * Moreover , Indication ,’ to make the se?ise complete .

Flavour, not to be There is certainly no object established by

Indicatedor Denoted, p r0 of, signifiable by the words Flavour &c., other

entity. than the act of relishing — that should be conveyed

by these powers of Indication and Denotation. Moreover, Indication
comes in, or is brought into operation , there only where the connection
among the meanings of the words employed, no sooner takes place than
it is destroyed, from its unfitness or absurdity, as in the expression A
herd-station on the Ganges’ or the like : as is said by Udayan6charya
in his Kusumanjali, a work on the Nydya—

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The Mirror of Composition.

Indication, exerted “ ^ sen ^ence does not seek another sense than

only where the literal the literal, when it is satisfactory (lit. without
sense is incongruous. , . x , „ . . _ . A

desire), by reason of the fitness of the connection

among the literal meanings of its component words ; but the connec-
tion among the significations of the words failing, it is made up by a
meaning tropically hinted by any of the words.”

Now, there is no cancelling of the primary meaning, for instance, in
the sentence commencing — " Perceiving that the house was empty”
(see §3. 5), and, therefore , Indication has no business herein, and yet
the Erotic Flavour is developed by it.

How what is spoken c ' If > a o ain > 7 0U sa y that in su ^h a sentence
of as Suggested can as ‘ A herd-station on the Ganges’ the motive, viz.

the coolness , purifying power, Sfc. (see Chap. II.
§13. b.) is not Suggested, but Indicated, then ‘ bank’ would become tlio
primary meaning* of Ganges and consequently be cancelled,! and
there must be acknowledged another motive,! as indicated, for the
indication of this first motive , and a third motive, again, to this
second indication , and so on ad infinitum.

Two notions, not d. Nor is Indication exerted here towards
to bo simultaneously _ 1

convoyed or by the the conveyance oj the sense of the * hank AS
sumo function. qualified by coolness , fyc. tlie motive ; for a

simultaneous understanding of the object and the motive is impossible.
To take an analogous instance , it is after the perception of the blue
that the property or speciality of 4 being known* (jnutata — according
to the technicality of the Grammarians) can arise in the blue ; or,
(as the Naiydyikas say) the consciousness (anuvyavasaya) of it can
take place in «$.§

* Text.

No. 270. Nor is Inference able to cause the perception of Flavour,
&c. suggested ; the reasons assigned as the basis of the inference being
fallacious : nor is the perception of Flavour, &c. a Recollection.

# For the * motive* and the sense of 4 bank* cannot both be Indicated.

t Since, there can bo no Indication without the primary meaning’s being

cancelled.

t For there can be no indication without a motive which you suppose to be
■Indicated.

§ Our perception of the blue, occasioning, as it does, the consciousness thereof,
toUBt have preceded it. Similarly the understanding of the bank must be
antecedent to that of its coolness, &c. for the knowledge of the coolness, &c. is
occasioned by our knowledge that the place is contiguous to the sacred river.

168

The Mirror of Composition .

COMMENTAEY.

a . As for the declaration of the author of the Vyakti-viveka (Dis-
cussion of Suggestion), viz.

The notion of somo “ The perception of Flavour and the like which

ol^Flavou/is^n^iN arise f rom the Excitants, &e. is also to he referred
ference. to the head of Inference. For, the cognition of

the Excitants, &c. is held to be the instrument or the occasion of the
perception of Flavour and the like, and they being respectively the
causes, the effects, and the concomitants of the sentiments of Love,
&c. (see Chap. III.) produce Flavour or the like by making us infer
those sentiments, since it is these, apprehended by inference and
having attained to the condition of being relishable, that are spoken of
as Flavours. Hence there must necessarily be a process in the per-
ception thereof, though it is not discerned through its quickness.
And indeed such a process or succession is admitted even in the
Suggestion of the Flavours by those who hold that distinct function"

This refuted. I would ask — Do you consider as Flavour tho

mere cognition of the affection, &c. residing in Kama, &c. inferred
through the apprehension of the Excitants, &c. represented in words
(i. e. a Poem), or in action (i. e. the Drama:) — or do you meanly
Flavour the self-manifest joy felt, through the conception of the

affection, &e., by men of poetical imagination ? If you mean the

former, there is no dispute, but the only difference is, that we do not

use the term Flavour in the sense of the mere cognition of the

affection, <&c. residing in Rama, &c. But the latter, i. e. Flavour in
the sense of joy, is not proved to inferrible, as the reason, mentioned
by you as warranting this inference , is fallacious, for it is not universal#.
inasmuch as an old Mmdnsalca , though he also has the^oerception of
the Excitants , Sfc has not the fruition of the self manifest joy.

I . As for the assertion made by him again, viz : —

Another argument “ The ‘ universal attendance’ and the * existence
of the opponent. * m the subject,’ # necessary to a logical conclusion ,
are evident with respect to the inference or logical conclusion of

* These two logical technicalities may be illustrated as follows. All men are
mortal, Socrates is a man, Socrates is mortal. Now the Naiy£yika would
say— -mortality pervades or universally attends humanity, and humanity exists
in the * subject* (viz. Socrates who is to bo provod to bo mortal) ; therefore we
infer or conclude that mortality attends Socrates. For a full explanation soo
Dr. B.*s * Lectures on tho Nydya Philosophy embracing the Text of the Tarka
Sangralia.*

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The Mirror of Composition .

Flavour thus : — In whatsoever person the Excitants, the Ensuants, the
Involuntary indications of strong feeling (see §164), and the Acces-
sories — represented by words or action — come in contact with a culti-
vated imagination giving scope to their operation — in that person the
Erotic Flavour (fee., are excited ; — I am one of these persons : there-
fore I infer the Frolic Flavour fyc. are excited in me”

And —

“ The occasions, which you consider as essential in suggesting a
different meaning, are held by us as reasons for the inference thereof —
us who take the side of those who consider that a suggestion is no
other than an inference.”

Tho ' logical infer- To these again we reply — this is not opposed

cnco of one’s being our 0 pi n i on but such a notion is not consi-
an approhendor of A

Flavour, not identical dered by us as relishable, but the fulness of joy
thereof 6 aC ^ Ua ^ relish exquisite, felt only in its own manifestation, so
that tho reason in your supposed inference is a mero
semblance leading, as it does, to the conclusion of a thing (viz. / have
the fruition of Flavour ), different from what you wished to conclude
(viz. the fruition itself of Flavour).
c. As for the further assertion of tho same writer —

Another objection. “ The Suggested matter in such a sentence as
* Stroll securely, O devotee, &c.* (see §253. g.) ; as also the Ornament
of Metaphor, for instance, in the following are simply inferred —

“ 4 May Krishna preserve the world — curious to see the alternate
separation and union of the youthful couple of 13rahmany ducks
(Ohakravaka), as, in his sports in the water, h q playfully removes his
quick hands from Kddhd’s face, and covers it again:’

“ To explflin : Inference is the knowledge of the Signified, through
the Sign qualified by its existence in the subject, its existence in
similar instances, and its exclusion from opposite instances.* Now no
unconnected sense in the shape of the Suggested can be understood
from the Expressed, otherwise suggestion would be indefinite {or a
sentence would suggest anything) ; so that there must be a connection

. * As, (supposing a smoky hill to bo tho subject in which the existence of fire
is to be inforred), we conclude in the subject the existence of fire the Signified, by
the Sign smoke which we see existing in it as well as in * similar instances/
Bu ch as the culinary hearth, where there is no doubt as to tho existence of fire,
which we seo absent from the ‘ opposite instances/ i. c. such places in which
he absence of fire is certain. Seo Dr. B.’s Tarka Sangraha, §54,

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The Mirror of Composition .

between the sense (i. e, the Expressed), which causes the understand-
ing of a different sense, and that (i. e. the Suggested), which is caused
to be understood by it. Hence, the sense which causes, is the
‘ Sign,’ and that which is caused to be understood, is the Signified.
Now the former’s ‘existence in the subject’ is expressed, and its
‘ existence in similar instances’ and ‘ exclusion from opposite instances,*
though not expressed, are to be made out through the peculiar
tendency of the sentence , so that the Suggested sense as the Signified
being understood from the Expressed sense as the Sign, the case ends
simply in an inference.”

The Suggested To this we reply — It is not so. Let us see.
sense not inferable, T , '

the reason alleged An suc “ a sentence as — btroll securely, O devotee
being fallacious. &c.’ you would say that the apparent direction
for strolling, resting on the circumstance of the dog being killed, leads
us finally to infer the prohibition of strolling, by reason of the discovery
of a lion on the bank of the God&vari. Now, here the alleged reason
in the inference, (or the major Premise- of your Syllogism) is not
universal, for it is possible that even a coward might resort to the
lion-infested place at the command of a spiritual guide, or a master,
or from affection for a beloved woman. The reason is also inconclu-
sive on the score of its being doubtful as to whether the words of an
amorous woman ( with respect to a lion's being found on the Godavari)
are to be believed or not.

d . As to the stanza — “ May Krishna &c.” it is not to be asserted
that it is by inference that we understand here the Suggested sense
in such a manner as the following — ‘ What by its appearance and
disappearance causes the separation and union of the Br&hmany ducks
must be the moon.’* For your argument fails in the ease of a fright-
ening thing, which might as well by its appearance and disappearance
cause the separation and union of the ducks .

Another false rea- e - ‘ Such a sense intimates such another sense,
soning, repelled. because of its (the former's) being of the nature
of such a sense, since whatever is not the intimater of such another
sense is not such a sense.’f Iu such an inference, also i as the above,
the reason is, to all intents and purposes, a mere semblance, for from

* See note, p. 78.

t Thw is but an apparent instances of Inference founded on the Kevala
Yyatireki Linga (Sign that is only absent). See Dr. B.’s Tarka Sangraha, §53.

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The Mirror of Composition .

{he reason assigned by you , vis. 1 the sense being as it is ,* there might
as well be inferred such another sense — be it what it may — as was
never wished to be intimated by the sense ,

f As to the stanza commencing, 4 O neighbour, will you cast your
eyes’ (see §258. c), you would say — here the reed-knot’s scratching
the woman’s body, and her going alone to the river are the Sign of
her enjoying another lover, which is the Signified. But those (viz. her
going alone to the river Sfc . alleged by you as the Sign or Reason in
your inference) might, as well, be from her love for her husband as is
declared in the very stanza ; so that, your reason is not invariable or,
in other words, dallying with a gallant is not universally predicable of
a woman going alone to a river, or the like.

g. As to the stanza commencing — ‘ The border of thy breasts has
lost the whole sandal wood’ (§27. c ) — I ask — Is the dalliance of the
female messenger with her (the speaker's) lover, as hinted here,
inferred by the addressed viz. tlie female messenger, or by those others
present there at tlie time, or by men of taste considering the sense of
this piece of poetry ? In the case of the two former inferring the
hinted sense , there is no dispute, but in the case of the last (viz. the
readers of poetry) there can be no inference , as the reason assigned in
the inference , fails where such a sense is not intended to be hinted.
It must not be alleged that the reason is qualified by being associated
with the condition or circumstance of the speaker &c. 9 since, not being
! mentioned , we cannot arrive at a knowledge of it , and so we want a
general proposition to base our inference upon . Moreover, as it is not
j Logical inference necessary that such poems, originating merely in
with *work? of °imar tlie imagination of the poets, should have any
gination. authority at all, our reason (in the inference of

any other meaning than the 1 Expressed) must be imperfect (or incon-
clusive) from its doubtfulness. It has been asserted by the author of
1 Vyakti’ that the meanings of the words, in the stanza above alluded
to , suggest the other sense only through the aid of the word ‘ wretch’
5 but when there is reason for doubting whether the lover,
referred to in the verses, was really a wretch or not, how can there he
an inference ?

The * conclusion h. All that we have said before , also precludes
from tho effect' also .. „ u „

being an Inference, the notion ot the suggested meanings being
rejected from poetry, perceivable by (what is called by the Mim ansa has)
z 2

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The Mirror of Composition .

the ‘ Conclusion from the effect/ for the * conclusion from the effect*

too must always depend upon an induction, or general proposition,
previously established. As, when we conclude * Chaittra resides some
where else ’ from the i effect ’ of the proposition — ‘ Chaittra, who is not
in this cow-herd-station, lives/ our inference depends on the previously
established induction , viz . ‘ whoever lives must reside somewhere.’

Suggestion, not
founded on conven-
tion.

i, Nor is the Suggested sense apprehended
through an understanding of signs, in some
such manner as the number * ten’ or the like is

apprehended by us, for instance, at the time of buying cloth from the
dealer's raising his forefinger in signification of the price — suppose
10 Rs., of a certain piece . Because, the understanding of a sign,
being dependent on the common authority of convention &c., is also
reckoned as a sort of inference.

i- As to the assertion of some that the appre-

The perception of J 11

Flavour, not a recol- hension of Flavour &c. being founded on, or derived
lection. from previous impression is simply a .Recollection

— it is not right, for their reason is only a semblance, in as much as it
fails in the case of a Recognition which is also derived from previous
impression, and yet is not only a Recollection but a Perception also,

Tc. Lastly, as to the allegation of Mahima Bhatta with respect to
such a stanza as the one commencing ‘ Who, by his fort, is insurmount-
able in battle’ (see §257. c ) — that there exists no second sense in it,
it is verily an elephantine wink (or heedlessness of the palpable) on
his part to deny what is establish ed^by actual perception.

A fourth function s °— to recapitulate the reasons — it is

settled. proved that a fourth function must be resorted to

in a sentence, inasmuch as the sense in the shape of Flavour &c.
established by the universal perception of men of taste , cannot be
denied, as it appears and disappears with the particular words, sense
&c* by which it is conveyed, as it is not cognizable by such sources
of knowledge as Inference &c., and as it is not to be conveyed by the
three functions commencing with the Denotation. Further, this
function comes into operation independently of any reference on our
part to any previous induction or the like. All this is now clear.

* Soil. The words, the literal sense, the various parts of a word &a, which
suggest another meaning or a particular Bentiment. See Chap. IV.

The Mirror of Composition . 173

m. The question then arising — How is this function designated ?
— it is replied —

Text.

This, named Sug- No. 271. This function is, by the learned,
gestion or Gustation, styled 4 Suggestion* (vyanjana). Some again call
it Rasand (Gustation) as suggestive of Flavour.

Commentary.

a . This has been discriminately dwelt upon on the occasion of the
decision of Flavour (see §3f3. g. and d.), and so it is all lucid.

So much for the 4 establishment of the function of Suggesting* — the
fifth chapter of the Mirror of Composition.

CHAPTER VI.

The Declaration of 4 a Poem to he seen and heard ’ and
4 a Poem only to he heard . ’

Division of Poetry Thus havin S statcd the two divisions of Poetry
into the ‘ Visible’ and as (1) 4 Suggestive* and (2) 4 of a subordinate
the Audible. Suggestion/ he declares its two divisions again

into the 4 Visible’ and the 4 Audible.’

Text.

Visible Poetry de- No. 272. Poetry is considered again to be of
fine< h two sorts, from the distinctions of Poetry to be

seen and heard , and Poetry only to be heard. Of these the 4 visible
Poetry’ is that which can be represented, and this — (see the next
Text ) —

Commentary.

a. He states the reason for its appellation of 4 Rupaka’ (Poem of

Why called

Text.

No. 273. — is called Rupaka from the artificial
assumption of forms hy the actors .

Commentary.

4 This* — 4 visible Poetry’ — is styled Rupaka by reason of the
actors artificially assuming the forms of (i. e. personating) Rama &c.

Now, what is this acting or representation (abhinaya) P —
he replies —

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The Mirror of Composition*

Text.

Representation, No. 274. Acting is the imitation of condi-

fourfold, tions ; it is of four kinds, viz. (1) Gestural

(angika), (2) Vocal (vachika), (3) Extraneous, or pertaining to dress ,
ornament , Sfc. (aharya), and (4) Internal or pertaining to the soul or
internal feelings (sattwika).

Commentary.

a. Acting is the imitation or representation of the conditions of
Rdma, Yudhishthira, <fce. by means of gesture,* speech , &c.

b. He declares the divisions of the Rupaka.

Text.

The ten Rupakas. No. 275. The N&taka, the Prakarana, the
Bhdna, the Vyayoyga, the Samavakara, the Dima, the Ihamriga, the
Anka, the Vithi and the Prahasana : these are the ten Rupakas.

Commentary.

a . And —

Text.

Theeightoenminor No. 276. The Na^ikd, the Trotaka, the
Rupakas. Goshthi, the Sattaka, the Natyarasaka, the Pras-

thana, the Ulldpya, the Kavya, the Prenkliana, the Rasaka, the
Sanlapaka, the S'rigadita, the S'ilpaka, the Vildsikd, the Durmallikd,
the Prakaranf, the Hall is 'a, the Bhanika \ these eighteen the learned call
Uparupakas (minor Rupakas). All these in their general character
are held to resemble the Nataka.

Commentary.

a . ‘ All’ — L e. the Rupakas beginning with the Prakarana, and
the Upartipakas commencing with the Natikd.

b, Of these —

Text.

The Kanaka de- No. 277. The Nataka should have a celebrated
scribed, story for its plot ; be possessed of the five

Junctures (see §332) ; have the qualities of 4 Vivacity’ (see §91), pros-
perity, &c. described ; contain or represent personages (or characters)
contributing to the various prosperities of the Hero ; be abounding
with the sentiments of pleasure and pain, as also with a variety of
flavours. It is declared that the Nataka should consist of from five
to ten Acts. The hero should be of the sort characterised 4 high-
* Lit. By the corporeal members.

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The Mirror of Composition .

spirited, but temperate and firm’ (§ 66), powerful and virtuous, being
either a royal sago of renowned family, or a god, or a demigod ; the
principal Flavour must be one only, being either the Erotic or the
Heroic, all other flavours should be subordinate, and the Marvellous
exhibited in the fulfilment of the end, or in the last Juncture , viz, the
‘ Conclusion There must be four or five important personages en-
gaged in the business of the hero, and the Nataka must be so composed
as to end like a cow’s tail.

Commentary.

. a. t Celebrated’ — such as the famous story of the Ramdyana, for
instance, that forms the plot of the drama Ramacharita, <fcc.

b. The junctures shall be declared afterwards (sec § 332).

c. i Contain personages contributing to the various prosperities
of the hero ' — i. e. the Kanaka should have mighty Assistants for the
hero .

d. i The sentiments of pleasure and pain’ — as are clearly exhibited
in the stories of Rama, Yudliishthira, <fcc.

e . ‘ A royal sage’ — such as Dushyanta and others.

f ‘ A god’ — i. e. such as the holy Krishna or the like.

g . ‘ A demigod’— i. e. one who, though a god, thinks himself a

man, such as the divine Ramachandra.

A. * So composed as to end like a cow’s tail’ — Some explain it to
mean that each of the acts is to be gradually made shorter than the
one preceding ; while others say that as in a cow’s tail some hairs are
short and some long, so in the Ndtaka some important incidents are
to he completed in the first or opening Juncture (Mukhasandhi), some
in the juncture Pratimukha, and similarly the other incidents are to be
distributed among the other junctures, without trying to make them
equal, in number, in every Juncture.

Text.

ThoAcfc doscribod. No. 278. The Act is declared to be of the
following description. It represents visibly the actions of the hero ;
it is to be brilliant with Flavour and Incomplete flavour ; its style
must be clear ; it should contain short prose sentences (churnaka) ;
it forms a division in the action of the drama ; it may slightly touch
the Vindu (see §319) ; it should not contain an abundance of incidents,
nor should it represent the Vija (Germ), or the Catastrophe (saeliriti ) ;

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The Mirror of Composition .

it should contain various appropriate actions ;* * * § it should not have too
many verses in it ; it must not bo composed so as to clash against the
performance of the necessary duties, nor should it contain events of
more than one day ;f it should always have the hero under immediate
relation ; it should contain three or four personages ; it should be
devoid of the following actions — calling at a distance, killing, battle,
national calamity, marriage, eating, cursing, excretion, death, amorous
dalliance, scratching with the teeth or nails, and others that excite
shame as also sleeping, sipping the lip, besieging a city or the like,
bathing and anointing the body ; it should not be too lengthy ; it
visibly represents interesting deeds, pertaining, for example, to a queen
and her attendants, to a minister and merchants, such as excite feeling
and flavour — the characters all making their exit at the end.

Commentary.

а. The Vindu &c. shall be mentioned afterwards. — e Necessary
duties' — i. e. the morning and evening prayers, <fce.

б. He describes the Interlude (Garblidnka) being in place after the
declaration of the principal Act : —

Text.

The Interlude, des- No. 279. A secondary Act contained within
cnbed. a principal one, having a Kangadwara, an Amukha

<fcc. of its own, and so also containing a Germ and an End, is styled
Interlude, f

Commentary.

a. As, for example, in the Bala ^amay ana —

“ Eunuch. ( — addressing Havana — ) This festival of Sita’s own
choice (i. e. of a husband), fit as it is to be drunk in by many an ear,
and viewed by many a large eye, is, as it were, a drama composed for
your majesty.

Thus commences the Interlude named 4 Sita’s own choice/

* I. E. Tending to the main business of the drama.

t It will be observed hore that Prof. Wilson was mistaken in saying — *The
S $hitya Darpana extends it (the duration of the Act) to a few days or even to
°ne year.* Hindu Theatre, Yol, I. p. 9.

X For convenience sake I have used this word, though generally employed in
a somewhat different sense.

§ We have another example in the Uttara Rama Charita at the commence-
ment cr the 7th Act. So is the well known * mouse trap to catch the conscience
of the king,’ in liamlet.

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The Mirror of Composition.

Preliminary
formaiices of

Drama.

per-

tlio

Text.

No. 280. The first thing to be clone in it is
the Purva Ranga, then Reverence to the assem-
bly, then the mention of the name of the poet
&c. as also of the drama, and then the Induction (Amuklia — see §283
and 287).

COMMENTARY.

a. 1 In it * — t e . in the Drama.

Text.

.Tho Purva-ranga. No. 2 SI. What the Actors perform before
the commencement of the matter to be represented or the main drama ,
fur the removal of the obstacles likely to happen to the stage in the
course of it — is called Purva Ranga, (Preliminary Performance). It
consists of a variety of elements, such as the Pratyahara &c., among
which however the Benediction (Nandi) must be used as a special
means of removing the obstacles.

Commentary.

a . He states its ( the Nandi's) nature : —

Text.

The Nandi or Bene- No. 2S2. What is recited in the praise of a
‘l 1011011 * Deity, a Brdhman, a king, or the like, combined

with a benediction, is designated Nandi. It should suggest such
auspicious things as the Viiwa (JEgle Marmelos ), the Conch shell, the
moon, the lotus, the Brahmany duck, the lily ; and consist either of
twelve inflected words or eight lines.

Commentary.

a. The Nandi of eight lines is such, for example, as that in tho
Anargha Raghava commencing That of twelve words —

as the following in the ‘ Pushpa-mald* (Flower-garland) of my venera-
ble Father —

“ The daughter of the Royal Mountain (Pdrvati) with her moon
face shining at first red with resentment towards Kama’s enemy

* Tho first of tho couplo of stanzas here alluded to, is translated as follows :

“ 1 adore, for the removal of obstacles, tho eyes of the Holy One, marked by
tho divino nmeo, (Vishnu)— glorious eyes, able one to gladden tho Kokn, the
other to feast tho Chakora ; which have made tho whito lotus-bud iu the Great
God's navel-pond equal to tho Ethereal Conch in His hand, as, struck by their
respective solar and lunar rays , half it wakes, and half it sleeps, sweet in charm-
ln g beauty/*

2 A

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The Mirror of Composition .

(S'iva) holding, as he does, on his head the River-Goddess ( Oanga )—
then, as her lord falls down at her feet, charming with a smile — may
she bestow on you prosperity !”

b. Thus might the Benediction be illustrated in other instances.

The Nandi, proper- c - ^he performance, however , spoken of in
I y> 110 P arfc °f t ^ 1Q Text 281, 1 have designated Nandi according to

Purva Kanga, the . . , f .. ? .

Kangadwara being the opinion ox some, but others say — ‘it is in

the commencement. reality the part of the Purva Iianga named Ran-

gadwdra (the Door or Opening of the Theatre), to which effect it has

been said—

“ Since acting is first of all introduced into this, it is known as the
Rangadwara, consisting of vocal and gestural performance.”

Now tho Benediction (or Nandi properly so called ), such as is
described in the present text, being performed BEFOitE the Ranga-
dwara by the mere actors, is not mentioned by the great sago
(Bharata). Moreover, the above definition of Nandi docs not hold
good, for instance, with respect to the following stanza , prefacing the
drama Vikramorvas i of that great poet — Kalidasa : —

“ May* He who is declared in the Upanishads to be the sole
Person, pervading the heaven and the earth, in whom exclusively does
the word Lord (fs'wara) attain to its true signification, who is sought
within by the desirers of salvation with breath and organs controlled
• — may that S'iva, easy to be obtained by steady faith and devotion,
be for your felicity !”

d , Further, it has been said — itlie poet should composo beginning
with the Rangadwara hence it is that in the old manuscripts the
stanza beginning 6 May He who is declared’ is found written after the
words — * Enter Manager (Siitradhara) at the end of the Benediction.’
Where, however, this expression occurs after the stanza, there it is
intended to intimate the poet’s meaning — f the Manager shall read
this after the Benediction : here commence I the drama.’

Text.

The drama, how to No - 283. The Manager, haying just acted the
bo introduced. Purva Ranga, desists, apd the Establisher (Stlia-

paka), equal to him, then entering, establishes or introduces the

* A commentator of the Sakuntala reconciles the similar stanza, therein, with
iho above definition of Nandi, on the authority of Abhinava gupta Achdrya, the
Expositor of tho Bharata Sutras, who explains ‘ pada’ to mean a clause as well
as a lino and an inflected word.

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The Mirror of Composition.

drama ; ho must hint tho matter or action , if divine, or human, in the
corresponding form, and if mixed, in either of tho two forms ; or he
may hint the Vija (Germ), the Mukha (Face, Opening ), or the hero.

Commentary.

a. i Establish er’ — so called from his office of establishing or bring*
ing in the action of the poem.

b. i Like him’ — i. e . with qualities and appearance like those of
the Manager.

c . In these days from the absence of a complete performance of
tlie Purva Eanga, the custom is that the Manager alone does all.

<1. The Sthapaka must hint a divine matter as a deity, a human
matter as a human being, and a mixed matter in any of these charac-
ters. — ‘ Matter’ i. e . the Action or the plot : For example —

Intimation of tho “ Receiving the command of his Father as a
P lofc * garland on his head, Rama resorts to the forest ;

Bharata, in devotion to him, abandons his whole kingdom together
with his mother ; those his faithful followers — Sugriva and Vibhishana
— are raised to high prosperity ; and his pride-elevated enemies, the
Ten-headed demon and others, are all annihilated.”

e. The Germ (vija) hinted — as in the Eatnavali —

Intimation of tho “ Favourable Fortune brings us speedily our
^ orm - wished-for object even from another continent,

even from the bosom of the ocean, aye, even from the farthest quarter
of the globe !”

Here, the admission of Eatnavali, favoured by kind Fortune, into
tlie king of Vatsa’s house is the germ or first means , beginning to
operate with Yaugandharayana’s exertions, of the king’s obtaining
the lady (Ratn&vali) who had been plunged by shipwreck into the
midst of the sea, but afterwards saved.

Intimation of tho f The Mukha is a sort of speech indicating,
opening action, by me ans of an equivoque or the like, the inci-

dent to be presently represented ; as the following —

“ Smiling with the clear, silvery moon, and lustrous with the stars,
Autumn has arrived — like the fair Rdma, radiant with his glittering
sword unsheathed ; like the hero he has destroyed the season of the
Runs, dark and dreadful like the ten-headed monster; and he has
2 a 2

180 The Mirror of Composition .

reloaded the Bandhujiva with flowers, still imitating that gracious
prince who brought back life to his slaughtered friends.”*
g . The Hero hinted, as in the Sakuntala —

Introduction of the “Suddenly was I carried away by the ravish-
n ° r0 * ing strains of thy song as is this king Dushyanta

by the flying deer.”

Text.

No. 284. Having propitiated the theatric spectators with sweet
verses hinting the purport of the drama, he mentions the names of
the drama and the poet, as well as his lineage &c., and generally
describes some season with the action called BharatL

Commentary.

a. * He* i. e . the Establishes —

b. ‘ Generally’ — because sometimes there is no description made
of the season, as in the Ratnavali.

c. The action Bharati is now explained —

Text.

The action Bhara- No. 285. The Bharati is a vocal action by an
U, defined. actor speaking mostly Sanskrit.

Commentary.

a . The Bhdrati is a performance chiefly consisting in a discourse
being for the most part in Sanskrit.

Text.

Its elements. No 286. The Praroehand (Propitiation), the

Vitlri, as also the Prahasana, atjjl the A'mukha (Induction) are its
component parts. Among these the Praroehand is the excitement of
the attention by means of eulogium.

Commentary.

Tho Prarochana, or 0- The Praroehand is the attraction of the
Commendation. attention of the Audience, by a commendation of

the drama Ac. to the actions or representations about to be performed.
For example, in the Itatndvali —

“ The poet Siiharsha is a perfect master of his art, and this assem-
bly can well appreciate merit ; the actions of Vatsa’s king are charm-
ing to the people, and we are skilled in acting— each of these circum-

* This comparison is not perhaps wholly intended in the original— -the ac-
tions >f Kama being meant simply to bo hinted along with the description
tho season by means of an equivocal collocation of words.

The Mirror of Composition . 1SI

stances would singly lead to the attainment of the wished- for fruit :
how much more then would all this assemblage of excellences, com-
bined as they are from the excess of our good fortune ?”

5. The Vitlii and the Prahasana shall be hereafter described,
(see §520 and 533).
c. He now states the Amukha :

Text.

No. 2S7. When the Actress, or the Vidushaka

I mine lion d^cribed! ( thc Jcster ov Buffoon )> or the Paripars'wika
(Associate), discourses with the Manager in inter-
esting speeches issuing out of their own business* and hinting or
Iringing in the subject in hand (i. e. the matter to he represented) —
it is designated Amukha (Prelude) or Prastavana (Introduction).

Commentary.

a . The Establisher (Sthapaka) also is called Manager being like
him. The Paripars'wika is his ( the StMpaka's) attendant. An
Actor is a little inferior to the latter.

Text.

Its fivo varieties. No. 2S8. There are five varieties of the Pre-
lude, viz. the Udghatyaka, the Kathodghata, the Prayogatis'aya, the
Pravartaka, and the Avalagita.

Commentary.

a. Among these —

Text.

The Udglifityaka. No. 2S9. When having heard some words,
and not understood their sense, they add some others of their own to
make a meaning out of them — it is called Udghatyaka (striking up).

Commentary.

a, For example, in the Mudra ltakshasa (The Signet of the
Minister) —

“ Manager. — That malignant planet, f Ketu, wishes violently to
overpower the Moon (Chandra) now in full circle”{ — (Behind the
scene, or lit . in the dressing-room-— interrupting) “ CMnakya. — Ah !

* In the original T , which the commentator explains — <( suited to

their purpose, — tho entrance of ono of the dramatis personal . 55

t Krura-graha, which equivocally means also ‘ of ovil intention.*

+ Sampurpamamlala— * in a full eirclo of sovereignty.*

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The Mirror of Composition .

who is this that, whilst I live, wishes violently to overpower Chan-
dragupta ?”

Here enters a personage (ChdnaTcya) construing the words of the
Manager into a different sense from what they import — owing to liis
having been engrossed by his own thoughts.

Text.

The Kathodgliata. No. 290. If a personage makes his entrance,
catching up the words of the Manager, or their meaning — it is called
ICathodghata (Striking up of an event).

Commentary.

This baaed (1) on 1 Catching up the words’— as in the Itatna-

tho words. vali — « Favourable Fortune brings, <fce.’ (§ 283. e.)

having been recited by the Manager, a personage repeats behind tho
scene, the couplet thus — 1 So it is, no doubt — Favourable Fortune,
&c.’ — and Yaugandhaniyana makes his entrance.

And (2) on tho T/*<? entrance of a character catching up

Eense * the sense — as in the Veni-sanhara : —

“Manager — May the sons of Pandu rejoice with Madhava, the fire
of their antagonism extinguished from tho enemies seeking peace ; and
may the sons of king Dhritarashtra with their proteges obtain tran-
quillity, having desisted from all fighting, and subdued the people’s
heart by their protective affection.”*

Catching up the sense of the sentence spoken by the Manager, some
one cries out behind the scene — “ Ah wretch, thou vain chanter of
peace to mg enemies , how can the sons of Dhritarashtra obtain tran-
quillity so long as I live ?” The Manager then goes out, and Blunia-
sena enters.

Text.

The Prayogatis'a- No - 291 ‘ If a P art or Performance is super-
ya, or Supersession of seded by another so that a personage enters, it is
a ^ art * called Prayogatis'aya ( Supersession of apart)*

Commentary.

. a. For example, in the Kundamala — “ [Behind the Scene.] Madam,
alight this side — this side — please.

* The second sense of the stanza is tho following : — “ May the sons of F^nchi
rejoice with Madhava, tho fire of their antagonism extinguished from tho ex-
tinction of their foes j and may the departed souls of king Dhritarashtra’ s son*
and of their proteges be in peace, having graced the Earth with the blood o
their bodies wounded in battle ”

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The Mirror of Composition .

** Manager — Who is this verily that renders me assistance by calling
my lady ? [Looking closely — ] 0 misery ! It is most pitiful — Alas !
it is Lakshmaga drawing Sitd to the woods — Sita who though oppress-
ed with the weight of pregnancy, has been banished the country by
Kama perplexed with the fear of his people’s censure, as she had re-
mained so long in the habitation of the king of Lanka.”

Here the Manager, wishing his wife to be called for tho purpose of
dancing, goes out hinting the entrance of Sita and Lakshmana with
the exclamation — “this is Lakshmana leading Sita to the woods’ — and
thus performs a part superseding that which he had apparently intend-
ed for liis own, viz . dancing . Hence the name Prayogdtisaya .

Text.

The Pravartaka. No. 202. When tho Manager makes a de-

scription taking the season current for the subject, and a personage
enters thereupon — it is called Pravartaka (Introduction).

Commentary.

a . As, for example, the stanza commencing 4 Smiling with the clear
silvery moon’ (§283./) having been recited, Rama enters as therein
described.

Text.

Tho Avalagita. No. 293. When in a performance another

business (viz. the hinting of the entrance of the hero or the like) is
performed in unison with it — it is designated by the learned — Avalagita,

Commentary.

a. For example in the S'akuntala — “ Manager — Suddenly was I
carried away, &c., (see § 283. y.)” # — Then enters the king.

Text.

No. 294, Herein may also be admitted any of the other elements
of the Vithi, according to the occasion.

Commentary.

a. 1 Herein’ — i. e . in the Amukha.

‘ The other elements’— i. e, those besides the Udgh4tyaka and
the Avalagita, to be described hereafter (see §521.)

c • Nakhakutta, however, declares —

. * This is cited as an instance of the Prayogatisaya by Dhanika in his expo-
sition of the Pas'a-rilpa, soo that work, chap. 3, s'l. 10,

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The Mirror of Composition.

Another variety of “ In the Niitaka and the like > thc Induction
tlio Induction, accord- (A'muklia) may also be founded on words, heard
mg to some. ^ S p 0 ken, either behind the scene, or in the

air.”

Text.

No. 295. The Manager should employ any of these varieties (m.
eluding those intimated last), and thereby hinting either the matter or
a personage, go out at the end and then represent the action.

Commentary.

a, 1 Action’ — i. e . the series of incidents that form the sulject of
the drafna.

Text.

Action two-fold. No. 296. This Action again, is held by the
(1) Tho Principal. learned to be two-fold ; the one is thc Principal
(Adhikarika), and the other Incidental (Prasangika). Property (Adlib
kara) is the ownership or possession of the result; the holder of that
ownership is the Principal person— the Hero (lit. Owner, Adhikarin),
hence the story pertaining to him is designated by the poets Adhikari-
ka {of the Principal personage ).

Commentary.

a . ‘ Of the result’ — i. e. of the principal fruit, {such as Rama's

recovery of Situ through the destruction of Havana.)

h. The story of Rama, or the main action , in thc drama Pula
Rumayana, is an example of the first of these divisions .

Teilt.

(2.) Tho Incident- No. 297. Incidental, or Episodical is that
&h which is subservient to it.

Commentary.

a. That story or plot which is intended to he subservient c to it’
i. e . to tho Principal action, is the Incidental : for example the actions
of Sugriva or the like.

ThePatakii-sthanaka,
an important element
in tno action.

Text.

No. 298. The Patdkd-stMnaka (Telling or
Striking Point) is to bo admitted here into tho
action with good judgment.

Commentary.

a . * Here into thc action ’ — i. c . into the dramatic action.

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The Mirror of Composition,

Text.

This defined. No. 299. That is called the Pataka Sthdnaka

when instead of the thing thought of, or expected \ another of the
same character is brought in by some strange or unexpected circum-
stance.

Commentary.

a . He states the divisions hereof: —

Text.

The first Pataka Ho. 300. When an object is unexpectedly,
Sthanaka. and in an excellent manner, gained under a pecu.

liarly favourable circumstance— it is declared to be the first Pataka
Sthanaka.

Commentary.

a. As, for example, in the Ratnavali, when the king, thinking that
it was Vdsavadatta, his wife , about to commit suicide from his falling
in love with Sagarika , unties the noose from her neck and then re-
cognizing by her voice the lady disguised as his wife to be Sagarika
exclaims — ‘ How, is it, Sagarika, my love ! O forbear from this des-
perate rashness.* Here we have an attainment of the principal ob-
ject, viz., the company of Sagarika, excellent, that is to say happier,
under the excessively favourable juncture, than the expected one of
Vdsavadattd .

Text.

The Second. No. 301. A speech extremely equivocal and

containing a variety of epithets is declared to be the Second Pataka
Sthanaka.

Commentary.
n. For example, in the Veni Sanhara —

“ Manager — May the sons of king Dhritarashtra with their prot£-
obtain tranquillity, having desisted from all fighting (vigraha),
and subdued the people’s heart by their protective affection (rakta).”

As this sentence suggests the Germ* and the Endf by means of an
equivoque based on the words ‘rakta,* ‘vigraha,’ &c , bearing the
second significations of ‘blood,’ ‘body,’ &c., respectively, X — happiness

* Viz., Yudhishthira's energy, roused by the indignation of Bhi'ma, which
latter is first manifested at the Manager's recitation of the above lines.

t Soil. The binding of Dranpadi’s trosses through the destruction of Duryo-
dhana and his brothers — the foes of the hero.

I See note — § 290. t.

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The Mirror of Composition.

to the hero comes unexpectedly to be understood from the lines,
instead of blessing to the enemies which they , at first, seem to indicate :
so the general definition of the Patdka SthdnaJca (see § 299) holds
good here .

Text.

The Third. No. 302. What hints the Deed (K&rya—

see § 323^), obscurely, and under a certainty as to some particular, —
containing equivocal replies — is spoken of as the third Pataka Stha-
naka.

CoMMEKTATlY.

a. i Obscurely’ — i. e. under a sense not clearly expressed.

b. 1 Containing equivocal replies’ — i. e. containing replies fitly
connected with the matter in hand , but used under a different im-
port.

c. ‘ Under a certainty as to some particular’-r-i. e. under the at*
tainment of certainty as to some particular matter.

d. What is characterized by the above qualities is the third Pata-
Sthanaka : as, in the Veiji Sanhara, Act II —

“ Eunuch. — Broken, Sire, Broken — ■

King . — By whom ?

Eunuch . — By the Fierce (Bhimena) —

King.— Whose?

Eu . — Your Majesty’s.

King. — Ah ! What dost thou babble ?

Eu. — [Terrified.] Nay, my lyng, I say — Broken by the Fierce
[wind], your Majesty’s.

King. — Fie ! thou wretched old man, whence is this hallucination
in thee, just now ?

Eu . — My king, it is no hallucination, it is indeed a reality.

Broken by the fierce wind, your Majesty’s chariot-flag has been
thrown down upon the ground — making, as it fell, a cry of lamenta-
tion with the sound of its tinkling string of bells.”

Here is exhibited an intimation that ends in hinting the matter m
hand, viz., the fracture of Duryodhana’s thigh by Bhimasena , which
forms the catastrophe of the drama .

Text.

The Fourth. No. 303. An equivocal arrangement of words

(or a double entendre) well connected and fit for poetry — such as has

The Mirror of Composition. 187

an eye to a third sense, viz., the End, is the next and last Pataka
gth&naka.

Comment aet.

a. For example, in the Iiatnavalf :

“ I shall certainly make the countenance of the queen red with
anger to-day — by looking — as on another woman inflamed with love —
at this garden creeper entwining the Madana tree, powerfully bloom-
ing in blossoms white (pale with powerful anxieties — ), about to be
fully blown (yawning through langour — ), and every moment shaking
itself through the frequent puffs of the wind ( — increasing her own
pain by the frequent heaving of sighs).”*

Here is hinted the future event of the king’s falling in love with
Sagarika, terminating in his union with the lady by marriage — which
is the End of the business .

Tho Patak& Stha- b. These four Pataka Sthanakas are employed
nakas may bo used j n a jj ^he junctures (Sandhis — see § 332) some-

out the play. times for the purpose of intimating some bless-

ing, sometimes a misfortune too ; they may be multiplied according
to the taste of the poet. As to what has been asserted by some, viz.,
‘They are to be employed respectively in the four junctures commenc-
ing with the Mukha ( Opening Juncture — see § 333)’ — in this others
do not agree, for it is proper that all these, extremely acceptable as
they are, should be used every where without restriction.

Text.

An improper inci- No. 30k. A matter or incident which is im-

dent in the hero’s life p r0 per with respect to the hero, or opposed to
to be omitted or al- r 1 1 . 1 1

tered in the plot. relish, is to be altogether omitted, or shaped

otherwise.

COMMENTAEY.

a. An * improper* event is, for instance, the killing of Vdlin by
Rdma by an artifice. It is entirely omitted in the Udatta Raghava,
and is altered in the Vira Charita, where Valin himself comes forward
to slay Rama in fight, and is killed by him.

* Tho qualifications enclosed within brackets, of course, apply to * another
woman inflamed with love.’ — Tho difference between this and the second Pataka
Stlianaka (§ 301), says tho scholiast, lies in the latter (the 2nd) being entirely
based upon a double entendro, whilst the former has an expressed comparison
besides.

2 b 2

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The Mirror of Composition .

Text.

What incidents to No. 305. Incidents which are not to be shown

bo hint od in the Ar- or re p re8 ented in the Acts and arc yet consider-
thopakshepaka or In- x

ti-oductory Scene. ed necessary to be told, as also such as extend
through, from two days to a year (§ 278), and others too extensive,
are to be hinted by the learned by means of the Arthopakshepakas*
(Introductory Scenes).

Commentary.

a. ‘ Incidents or events not to be shown in the Acts’ — such as
events of battle, &c.

Text.

No. 306. A business extending beyond a year should be comprised
within a year.

Commentary.

a . As has been said by the sage —

TjL , . . , “ All that was done in a month, or even in a

Its duration, not

to be more than a year, should be performed in a separate Introduce
year * tory Scene (Ankachhcda), but never what ex-

tends beyond a year.” So the destruction of Vir&dha, &c., parts of
the story of Rdma’s dwelling in the forest, though it extended over
fourteen years, may be hinted, without opposition to the above dictum,
to have occupied a year or any portion of it, such as a couple of
days, <fcc.

Text.

A whole day’s
event also to be told
by the Arthopakahe-
. paka.

No. 307. What was done in a day, but in a
whole day, is*to be intimated by means of the
Introductory Scenes apart from the main Act.
Commentary.

a t The question arising — what are these Introductory Scenes ? —

he says —

Text.

Its divisions. No. 308. The Introductory Scenes are five

viz., the Visbkambhaka, the Pravcs'aka, the Chdlika, the Ankavatara,
as also the Ankamukha (Protasis).

TheVishkambbaka The Visbkambhaka is represented in the be-
pure, and mixed. ginning of an act, being brief and exhibitivo or
suggestive of parts of the action both past and future. When acted

* Lit, Intimators of Matter.

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The Mirror of Composition .

by one or two middling personages, it is pure, but it is spoJcen of as
mixed, if performed by a low and a middling character.

Commentary.

a. Of these two divisions of the Vishkambhaka, the pure is, for
instance, acted by Kapalakundala in the cemetery, in the drama Malati
Madhava of BhavabhtUi ; the mixed, by Ksliapanaka and Kapalika, in
the Ramdbhinanda.

Text.

The Praves'aka. No. 309. The Praves'aka ( Introducer ) is per-

formed between two consecutive acts by one or two low characters, in
ah unelevated discourse ; it is like the Vishkambhaka in other re-
spects.

Commentary.

a. ( Between two acts' — so it is forbidden to be employed in the
first act.

b. An example of this is the part played by the couple of Demons
in the Act — 1 As'watthamanka’ (or Act of As'watthaman) in the Veni
Sanhdra.

c. Now of the Chulika : —

The Chulika. No 310. The hinting of a matter or event

hy those behind the curtain is the Chulika :

Commentary.

a . For example, in the Vira Charita, in the beginning of the fourth
Act : — “(Behind the Scene — ) Up ! up ! Deities , Riders in aereal cars,
up with theatrical festivities ! &c.”

Thus is hinted, by the persons behind the scene, the event of Para-
s'u Rama’s defeat by Rama.

i. Now of the Ankavatara.

Text.

The Ankavatara, No. 311. When an Act, hinted by persons at
the end of the preceding Act, is brought in continuity with the latter
— this is called Ankavatara (Descent of an Act).

Commentary.

a. As in the S'akuntala, the 6th Act, having been hinted by
persons, at the end of the 5th, is introduced as a portion, or conti *
nuation 9 as it were, of tins Act.

Now of the Ankamukha (Protasis).

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The Mirror of Composition .

Text.

The Ankamukha, No. 312. That part of an Act, wherein the
or Protasis. subject of all the Acts is intimated, is styled

Ankamukha (Face or Opening of the Act) which suggests the Germ
(Vfja) as well as the End (Art ha).

a. For example, in the Malati Madhava, at the commencement of
the first Act, Kamandaki and Avalokitd hint the parts to be played
by Bhurivasu and others, and collaterally the arrangement of the
plot, in brief.

Text.

Another kind of
Ankamukha.

No. 313. Or tiro Ankamukha may be, when
persons, at the end of an act, hint the opening

point of another Act, divided, or not continued, from it.

Commentary.

a. * Persons at the end of an Act’ — i. e. persons entering at the
end of an Act.

b. As, in the Vira Charita, at the conclusion of the second Act —

“ Sumantra — (Entering — ) The holy Vas'ish$ha and Vis'wamittra

are calling you together with Bhargava.

Others — Where are the holy sages ?

Sumantra — With the great king Das'aratha.

Others — Let us then go there.”

Here ends the Act. Now thi% is called Ankamukha (Face of an
Act), as the Minister Sumantra, entering just at the conclusion of
the Act — which suspends the action of Janaka and S'atananda — hints
or introduces the face or opening of the succeeding Act, viz. * Enter
Vasishtha, Vis'wamittra, and Paras' u Kama seated. 1

<?. I have said this according to the opinion of Dhanika. Others,
however, assert that this sort of Ankamukha is in fact the same with
the Ankdvatdra.*

* Tho definitions of these two kinds of the Introductory Scene — nay the
whole of this chapter, mostly without even the least alteration — aro borrowed
from the Das'a Rupa tho expositor whereof is Dhanika. Now the definitions
mark a difference between them not less than that between other divisions.
The example indeed, cited hero to illustrate the Ankavatara, which is different
from that of Dhanika, confounds tho two divisions. Vide Das'a Rupa — ST w
— 56 .

The Mirror of Composition ♦

191

Text.

Tho Vislikambha- No - 814 When a S ood deal of the insl P id
ka when to succeed matter, forming the commencement of the story

tho A mukha. upon which a drama is founded, is left out, and

the remainder, required to give us the clue to the story , is to be exhi-
bited, then the Vishkambhaka in the drama must be performed imme-
diately after the Induction (Amukha) — the characters of the former
having been hinted in the latter :

Commentary.

a . For example, in the ltatnavab, the Vishkambhaka performed
by Yogandharayana.

Text.

Tho Act whon to No. 315. But when relishable matter com-
snocced tho AW- mences at the very opening of the story, then
" klme the Act must commence at the very beginning —

introduced by the Induction :

Commentary.

a . As, in the S'akuntala.

Text.

Tho hero's death No. 316. The death (lit. killing) of the prin-
ci P al P^sonage or hero (Adhikarin) is not to be
cidents to harmonize, declared even by means of the Vishkambhaka,
Ac. ; nor should any of the two — Flavour ( Sentiments ) and matter
( Incidents ), cover over or out-balance the other.

Commentary.

Flavour — i . e . the Erotic, &c. To this effect it has been said
by Dhanika —

“ The dramatist should neither disperse far the matter (i. e . the i
incidents of his play) by a superabundance of Flavour or passionate
descriptions , nor should he cover over the Flavour by an excess of
matter and embellishment.”

Text.

The five Sources No. 317. The Yi j a ( Germ )> the Vindu (Se-
rf the End. condary Germ), the Pataka (Collateral action),

the Prakari (Episode), and the K6rya (Deed) are the five Sources of
the End or the Grand Object — which are to be known and employed
according to the rule.

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The Mirror of Composition .

Commentary.

a. ‘ The Sources of the End’ — i. e. the causes or means of the ac-
complishment of the principal object.

h. Of these the Germ is defined, as follows —

Text.

TUo Germ (Vfja) No. 318. That which is the first cause of
defined. gaining the end, is but slightly intimated, and

expands itself in various ways, is denominated Yija.

Commentary.

a. For example, in the Katnavali, the source of the monarch of
Vatsa’s obtaining Katnavali is the exertion of Yogamlharayana, fa-
voured by hind Fortune. Or, in the Veni Sanhura, the cause of the
binding of Draupadi’s tresses is the energy of Yudhishthira enhanced
by the rage of Bhimasena.

Text.

Tlio Yindu, defm- No. 319. When the course of the business of
C( b the drama seems to be interrupted, the cause of

its being developed again is called Vindu. #

Commentary.

a. For example, in the Hatnavali, the business, at the completion
of the worship of Kama, being suspended, Sdgarika, hearing these
words of the bard — ‘They (the assembled princes) expect to see t e
feet of Udavana as the beams of the rising moon’ — exclaims in joy
— ‘ How, is he the king Udayana !’ This excites the succeeding part
of the businessf.

Text.

The Pataka or Col- No. 320. A Collateral Story, pervading, or
lateral Action. stretching through , the drama is styled Pataka.

* Commentary.

a . For example, in the Kama Charita the story of Sugriva, &c. ;
in the Veni Sanhara, that of Bbima, &c. ; and in S’akuntala that of
the Vidiishaka.

# Lit. Drop, as a drop of oil on water quickly difftiseg itself.

t Lit. ‘Thisfrs the Spring or Germ of an intermediate object* — that which
follows, viz. Ssigarikft’s falling in lovo with tin? king. Thus the Vmdn is dis-
tinguished from the Vija (Germ) as being tho sourco of an intermediate object,
whib r tho latte r is that of the principal ono, and consequently boing possibly
more than one, whilst tho latter can not but be one. *

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The Mirror of Composition .

Tli pi hero’s minor
object, not the Pata-
ka proper.

Vimarslia.

Text.

No. 321. An object of the hero other than
the principal is not the Pataka, for that may be
accomplished either in the Juncture Garblia or

Commentary.

a . For example, the attainment of the kingdom of Kalin by Su-
griva, which is a minor object of the liero llama fulfilled before the
consummation of his principal object , the destruction of Havana.

Tito object of the J. As to wliat the sage has said viz. — 4 The
also °in!licii.tort^' by Pataka is concluded either at the end of the
bharata by Pataka. Garblia or of the Vimarsha’— this the venerable

Abhinava Gupta has thus explained: 4 The word Pataka here denotes
tropically the object of the hero of the Pat&ka, for the Pataka, pro-
perly so called , is found to continue even to the Nirvahana or Conclu-
sion.

Text.

Tho Prakari or No. 322. A Collateral action of limited du-
Episode. ration is what is meant by Prakari.

Commentary.

a. For example, in the act named Kulapati, the dialogue between
Jatuyu and Havana.

Text.

Tho Deed (Karya), No. 323. An object of the hero other than
defined. the principal is not the Prakari.

That is called the Deed or Object (Karya), through which is to bo
accomplished the sought for JSnd, which is the motive of the business,
and for the consummation of which the incidental actions are perform -
ed.

Commentary.

a. As the killing of Rdvana for the recovery of Sita in the llama
Cbarita.

Text.

Five Stages of the No 321 There are five conditions or stapes
of the Deed, undertaken by those that seek an
End — viz., Commencement (arambha), Effort (yatna), Hope of At-
tainment (praptyas'&), Certainty of Attainment (niyatapti), and At-
tainment of the Fruit (phalagarna).

2 c

19 G

The Mirror of Composition,

Text.

The Junctures spe- No. 332. The Mukha (Protasis), the Prati-

ciflod * mukha (Epitasis), the Garbha (Catastasis), the

Vimarsha (Peripateia), and the Upasanhriti (Catastrophe) : these
five are its divisions tlie definitions whereof are stated in order, as
follows :

Commentary.

a, ITe states the definitions according to the order of their mention :

Text.

The Mukha. No. 333. That Juncture is designated Mukha

(Protasis or Opening Juncture) wherein is the origination of the Germ
(see §318), giving rise to a variety of matters and flavour, and con-
taining the 4 Commencement’ (A'ramblia — see §325).

Commentary.

a. As is exhibited in the first act of the llatn avail.

Text.

Tho Pratinmldia. No. 334. The Pratimukha (Epitasis) is that
in which the first cause or Germ (see §318) of the Fruit (i, e, the End or
Ultimate Object laid in the Juncture Mukha, has sprouted but not in
a very perceptible manner.

Commentary.

a . For example in the second act of tho ltatn&vali, we have the
sprouting or discovery of the Germ of affection, the primary cause of
the union of Vatsa-raja and Sagarika — which was intimated in the
first act — since here it is somewhat marked on account of its being
known by Susangatd and the Vidushaka, and guessed by V£savadatta
through the circumstance of Sagarika’s drawing the picture of the
king.

Text.

Tho Garbha. No. 335. The Garbha (Catastasis) is that

wherein the first cause or Germ of the Fruit, that has previously
sprouted, is developed, but is attended with frequent hindrance in its
growth, and search for the object wished for ,

Commentary.

a. This Juncture is called 4 Garbha’ (womb) from its being preg-
nant with the Fruit : As in the 2nd act of the Eatnavali—

44 SusangatA. Indeed, friend, thou art unkind now, as thou quittest
not thy anger, though thus held by the hand by thy lord <&c.”

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The Mirror of Composition .

Here we have the development of the Germ viz. Sdgarikffs love for
the king of Vatsa , which has now become mutual and manifest. Again
wo have a hindrance of it on the entrance of V&savadatta. In the third
act we have the i search' (for the beloved object) in these words of* the
king — ‘ How is it that Vasantaka, gone to seek intelligence of her, is
delaying?’ We have its (the Germ’s) re-manifestation in the following —

tc Vidushaka. Ha ! ha ! the joy of my dear friend even on gaining
the kingdom of Kaus'ambf was not such as will be felt by him on
hearing from mo the nows of his love.”

There is again the obstruction in the recognition of Vusavadatti by
the king who had mistaken her for Sagarikh disguised as the queen ;
again the 4 search’ in Sagarika’s resorting to the appointed place ; and
again the development in Sagarika’s putting the noose of a creeper
round her neck to kill herself.

b. Now of the Vimarsha —

Text.

The Vimarsha. No. 336. Where the means of gaining tho

End is developed more than in the Garblia, but is impeded by a curse
or the like — that is known as the Vimarsha.

Comment An y.

a. For example, in the beginning of the fourth act of Sakuntala —

“ AnasuyL Priyamvada, complete as is the happiness of our beloved

friend S'akuntala through her marriage of love* (gandliarva viva ha),
iny heart is particularly satisfied that she lias bei n united to a worthy
husband.”

The whole of the matter, commencing with this and extending up to
the recognition of S'akuntala represented in the seventh act, is embraced
by the impediment in the shape of the king’s forgetting S'akuntala.

b. Now of the Nirvahana.

Text.

The Nirvahana. No. 337. The Nirvahana (Catastrophe or

Conclusion) is that in which the matters sprung and gradually deve-
loped from the Germ, that have occurred in their proper places in tho
Mukha &c., are caused to end in the consummation of one object.

• Commentary.

a. For example,, in the Vein Sanhara : —

“ Eunuch. (Approaching with joy.) Triumphant is your Majesty,
* Or secret marriage by mutual consent.

19S

The Mirror of Composition.

great king : Here comes Bhmiasena with his whole body reddened
with Duryodhana’s blood — hard to be recognized &c.”

Here the various incidents, scattered in their proper places, of the
Mukha and other Junctures, — that had originally sprung from the
Germ, converge to one object, viz. the binding up of Draupadi’s tresses.

Or, for example, in the seventh act of S 'akuntala, the whole body of
the matter after the recognition of S'akuntala.

h. He mentions the members or elements of each of these Junc-
tures

Text.

The members of No. 338. Upakshepa, Parikara, Parinyasa,
the Muklm. Vilobhana, Yukti, Prapti, Samadlniini, Vidhana,

Paribliavana, Udbheda, Karana, Plied a : these arc the elements in the
Muklia.

COMMENTARY.

a. He defines tliese according to the order of their enumeration.

Text.

Upakshepa. No. 339. The springing up of the dramatic

matter is designated Upakshepa (Hint).

Commentary'.

a. ( Dramatic matter’ — i. e. the thing to be represented, viz. the
action.

I). For example in the Veni Sankara —

tc Bhima. Shall the sons of Dliritarashtra be in peace, whilst I live
— having struck at our lives and siezed our property, by setting fire
to the resin-covered house we had been treacherously sent to live in,
by giving us poisoned food, and by obliging us to enter the gambling
assembly ; and having laid violent hands on the garment and hair of
the wife of the Pandavas ?”

Text.

Parikara. No. 310. By the Parikara [(Expansion) is

meant the expansion of the matter thus sprung up.

Commentary.

a. For example, in the same —

“ of that enmity that grew up between me and the Kurus while I
was yet a boy, neither our revered brother (Yudhishfhira) was the cause,
nor Kiriti (Arjuna), nor were you two. Do you make peace— Bhima,
in wrath, breaks it asunder again like the broad breast of Jarasandha.

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The Mirror of Composition .

Text.

Parinyasa. No. 341. The Parinyasa (Establishment) is

the settlement thereof (i. e, of the matter sprung up, §339) :*

Commentary

a . As, again in tlie same drama —

“ I — Blum , t will adorn thy hair, 0 princess, with my hand red with
the thick and abundantly gushing blood of Duryodhana when his
thighs are smashed by the powerful blows of the club revolved by my
whirling hand.”

Now, the Upakshcpa (Hint) is the mere intimation, in brief, of
the object matter of the dramatic poem, u e. of the plot. The Pari-
kara is the exposition of the same. The Parinyasa, implying a still
greater determination than what is suggested in the Parikara, is, as it
were, the fixing of the object about the heart. Such is the distinction
among them. These elements must come in the order indicated. The
other members to he presently described may occur otherwise, or
differently from their order .

Text.

Vilobhuna. No. 312. The Vilobhana (Allurement) is the

declaration of excellence.

Commentary.

a. For example, in the same —

“ Draupadi , — My lord, what is hard for you to do, if excited with
wrath ?”

Or. for instance, in my ‘ Chandrakala’ in the description of Chau dr a-
kala, beginning — “ Here is she, that Lustre of youth.”

b. As to the description of the excellence of the deer, for instance,
in the stanza of S'akuntala, commencing “ Charming witli this turning
of the neck” (^iMTTfa^T *?*?.) — it is not a part of the Juncture, since
it has no connection with the Germ and through it, the End, So is it
to be understood with respect to the other members that they are
members, only when connected with the Germ and the End .

Text.

Vukti, , No. 313. The Yukti (Resolution) is the deter-

mination of purpose.

Commentary.

a * As in the Veni Sanhara — >

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The Mirror of Composition .

“ Sahadeva. (To Bhima.) Have you, Sir, taken these words of
His Majesty without reflecting on their scope”

Commencing with this down to the speech of Bhima —

“ Wrathfully to destroy the family of the enemies shames you indeed
before the people, hut your partner’s hair, siezed in the midst of the
assembly, calls not up your blush.”

Text.

Prapti. No. 314. The Prapti (Gain) is the access of

delight.

Commentary.

a For instance, in the same —

“ I am not destroying, with wrath, the hundred Kauravas in war,
Ac.” (see § k JGG. c.)

Hearing this, Draupadi exclaims with joy — “ My lord, such a heart-
delighting speech was indeed never heard by me before. — 0, utter it
again and again.”

Text.

Samadliana. No. 315. The Germ’s actually coming to be

suck, is termed Samadliana (Deposition).

Commentary.

a. As in the same —

“ [Behind the scene.] Hear, ho, Virata, Drupada, and others !
That flame of wrath at Duryodhana’s seizing the hair and garment of
the princess (Draupadi) ; which was smothered by him all this time
with care — his conscience shrinking from the breach of his vow of
truth ; nay, which was desired to be forgotten by the pacific king
wishing peace to the house — that powerful Yudhishthirean flame,
struck by the flint* of gambling, bursts forth now upon the forces of
the Kurus.”

The Germ exhibited in the stanza beginning — ‘ Shall the sons of
Dhritarashlra be in peace, whilst I live/ — is here, as it wer<3, properly
deposited, being agreed upon by the principal personage, the hero ;
hence the name Sam&dhana.

Text.

Vidliana. u No. 340. A passage, containing sentiments of

pleasure and pain together, is termed Vidhana.

# In tlio original— wood to produce fire from.

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The Mirror of Composition.

Commentary:.

a. For example, in the Biilachavita — (

“ Bhargava 2 — (To llama) My mind is at once possessed with joy and
grief, as I see the excess of thy energy, dear child, as also thy tender
Sigv—joy to have to cope with a worthy rival , and grief to have to kill
a hoy ”

Or, «as in my Prabhavati, the stanza beginning — “ 0 ! this form,
ecstatic to my eyes,” (§219.)

Text.

Piiribhavana. No. 347. Words implying curiosity are called

Paribhavana.

Commentary.

a. For example, in the Venisanlntra, Draupadi, doubting whether
the war would take place or not, enquires after the drum has sounded

‘ Why, my lord, is this martial drum, that roars like clouds in the
uuivorsal dissolution, being struck now every moment ?'

Text.

TJdbheda. No. 318. The Udbheda (Sprouting) is the

shooting forth of the Germ (vija).

Commentary.

u. As in the same —

“ Draupadi . — My lord, you will come and console me again.

“ Ultima — You will not see Hhiina again, with his face down- east*
through shame to have endured the enemy’s ii suits --see me again
without having destroyed to a man the descend* ills of Kuru.”

Text.

Kfimna. No. 319. The Kanina is the proper commence-

ment of the main business.

Commentary.

a- As in the same —

We are now going, princess, for the destruction of the Kuril
family.” •

Text.

bhcala. .No, 350. Bheda (division) is the breach of a

union.

Commentary.

n - As in the same — “ lienee is it that from this day I separate
ui n self from you, Sirs.”

* Or, according to another reading, ‘ cheerless’ or 1 sad.'

2 D

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The Mirror of Composition .

J. But sonic* say that Bheda is an urging or excitement.

c. Now of the members of the Pratimukha.

Text.

Tho Members of No. 351. Vilasa, Parisarpa, Vidhuta, Tapana,
the Pratimukha. Narma, Narmadyuti, Pragamana, Virodlia, Paryu-
pasana, Pushpa, Yajra, Upanyasa, and Varnasanhara belong to the
Pratimukha.

Commentary.

a . Of these —

Text.

Vilasa. No. 352. Desire for the object of love is termed

Vilasa (Amorousness).

Commentary.

a . Vila$a is the desire for a woman or man who is the exciting
cause or object of the sentiment of Love, as in S 'akuntala : —

“My beloved is indeed not easy to obtain, yet my heart solaces
itself in having seen her amorous gestures ; and thus, though Cupid
has not yet done his duty in uniting us in marriage , our mutual
longing produces a delight almost equal to that enjoyed in actual
embrace.”

Text.

Parisarpa. No. 353. The pursuit or seeking after ono

seen once, but afterwards lost, is called Parisarpa (Going about).

Commentary.

As in S'akuntala —

“ King . — She must he here ; for here on the door-way to this ratan
bower , bright with sands, I see fresh foot-prints, raised in the front
but depressed behind from the weight of the loins.”

Text.

Vidhuta. No. 351. Vidhuta (shaking off) is the non-

acceptance, at first, of a courtesy or a wooing speech.

Commentary.

a. For instance, in the same drama, as is quoted above , S'akunfaH
affects not to admit Dushyanta s professions of love thus — “ You need
not longer^ detain the royal sage, anxious as he is in being separated
from his harem.”

* The author of the Das'ardpa is principally meant here. .

The Mirror of Composition, 203

1>. According to some, however, Vidhuta is indifference or a shak-
ing off of love.

Text

Tapana. No. 355. The not finding of a means is named

Tap an a (Torment).

Commentary.
a. As in the Itatnavali —

<{ Sdgarikd — Difficult is that person to be obtained for whom longs
my heart and my shame is great ; myself am dependent upon another

and love is invincible — death, then, my dear friend, death is the only

♦

refuge for me.”

Text.

Narma. No. 350. Narma (Pleasantry or jest) is a

jocular speech.

Commentary.
a. As in the Ratn&vali : —

“ Susangatd — 1 1 ere, my friend, before thee stands he for whom thou
hast come here.

“ Sdgarikd— (With seeming anger.) For whom have I come ?

“ Susan.— Nay for the picture, lady— suspect me not of meaning any
thing else.”

Text.

Narma-dyuti. No. 357. Whilst Narma-dvuti (Brilliancy of

jest) is joy produced by joke.

Commentary.

a. As in the same : —

“ Susangatd— Thou art cruel now, friend, as thou quittest not thy
anger, though thus held by the hand by tliy lord.

“ Sdgarikd — (With a frown and a smile.) Wilt thou not yet cease
to jest, Susangatd ?”

Some, however, assert — 1 a joke covering over a fault is Narma-
dyuti,*

Text.

Pragamana. No 358. The Pragamana is a speech contain^

ln o an excellent answer.

Commentary,

a - As in the Vikramorvas'i —

u Unas' i — Victorious be thou, great king, be thou victorious ! »

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The Mirror of Composition.

“ King— Victorious, indeed, have I become to whom victory has been
proclaimed by thee, fair lady &c.”

Text.

Viroclha. No. 359. The Virodha (Adversity) is falling

into danger.

Commentary.

a . As in the Chanda Kaus'ika —

“ Acting imprudently, I liave, indeed, like a blind man, trodden
under my feet, a fire with blazing flames.”

Text.

Paryupasana. No. 3G0. Asking pardon for a fault done is

Paryupasana.

Commentary.

a. For example, in the ltatnavali —

“ Yulushaka — Pray, be not angry : it has flown into the plantain
bower &c.”

Text.

Pnshpa. No. 361. A declaration of excellence is called

the Pushpa.

Commentary.

a . As in the same —

“ (The king holds Sagarika by the hand.)

u Yidushaka — This, my friend, is an extraordinary Beauty you have
obtained.

“ King — Indeed, friend, she is Beauty herself, and her hand is a
sprout of the Parijata (Heavenly tree), otherwise how comes to ooze
from it this nectarine liquid, disguised as heat-drops

Text.

Vajra. No. 3G2. The Vajra is a speech directly cruel.

Commentary.

a. For example in the same : —

“ King — Bow could you know me here ?

t€ Susangatd — Not only you but the picture too, so I go to inform
the queen of it.’*

Text.

Upanyasa. No. 363. The TTpanydsa is a propitiation or

gratifying.

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The Mirror of Composition.

Commentary.

a* As in the same : —

“ SusangatA — Let not my master suspect me. I have indeed played
with these through the favour of my mistress. It would he a greater
favour to me, should your majesty propitiate my dear friend Sagarika
who is angry that I have drawn her likeness here.”

b . Some, however, say — ‘ an assertion made with a reason is termed
Upanyiisa,’ and cite, from the llatnavali, as an example — “ This born-
slave is extremely impertinent ” — where the assertion of impertinence,
in respect of the female attendant SusangatA , is accompanied with the
reason of her being a slave bg birth.

Text.

Varna- sanliara. No. 364. A meeting of men of the four castes

is called the Varna-saphara (Assemblage of the classes).

Commentary.

a. For example in the 3rd act of the Viracharita : —

“ This assembly of saints ; the hero Yudhajit ; the aged king Loma-
pada together with his ministers ; as also this ancient lord of the
Janakas, the perpetual performer of sacrifices and the teacher of Divine
knowledge — solicit of thee a friendly conduct.”

Here we have a meeting of men of different castes such as the
lir&hman saints and the Kshattriyus.

Another interpro- L The venerable writer Abhinava Gupta,
la i.ion of the Varna- however, assorts that the word c varna* indicates
personages of the drama and 1 sanliara’ means a
drawing together. He refers, as an example, to the passage in the
second act of the Ratn&vali —

“ This would be a greater favour to me ******
*****************

Hold her by the hand and then propitiate her. *****
**##*############

tl King — Where is she [V6savadatt& (?) ], where is she ?”
c. Now orthe elements of the Garbha

Text.

of No. 365. Abhutaharna, Marga, Rupa, Uda-
harana, Krama, Sangraha, Anumana, Prdrthana,
Kshipti, Trotaka, Adhibala, Udvega, and Vidrava are the members
belonging to the Garbha.

The Members
the Garbha.

206

The Mirror of Composition.

Abhutaharana. Of these the Abluitaharana (Utterance of an

unreality) is a speech founded on fraud.

Commentary.

a. For example in As'wathaman’s Act of the VenisanMra : —

“ The son of Pritha (Yudhishthira) having clearly spoken — ‘ As'wa*
thdman is killed/ afterwards uttered — truthful indeed as he is — ‘ the
elephant/ indistinctly.’ 1 ’

Text,

Marga, No. 3G6. Marga is the declaration of the

truth.

Commentary.

a. For example in the drama i Chanda Kaus'ika’ (Vis'wamitlra
Wroth).

“ King — Holy saint ! accept this that I have earned by selling my
wife and children ; for the rest of the donation I have promised to you ,
I will sell myself even to a Chanclala.”

Text.

Rupa. No. 367. A speech implying reflection is Itiipa,

Commentary.

a. As in the Ratnavali : —

“ King. How did Cupid pierce my mind with all his arrows
together? restless as it is by nature and never to be perceived (or
aimed at).”

Text.

Udaharana. No. 368. An extolling or lofty speech is called

the Udaharana (Extolling).

Commentary.

a . As in the As'watthamanka, or the third act named after As'icat -
thdman, of the Yeni Sankara : —

“ Whoever holds a weapon in the troops of the Pandavas ; whoever
belongs to the family of Pancli&la, be he a grown up man, a boy, or
even lying in the womb ; whoever has witnessed or connived at that
deed ; and whoever opposes me whilst I walk in the field of battle—
of every one of these I myself am the destroyer, mad with wrath,—
though he be the destroyer of the worlds or Death himself”

Text.

Krama, No. 369. The discovery of the reality of one *

love is termed the Krama.

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The Mirror of Composition.

Commentary.

a. For example in the S'akuntala : —

“ Fit it is that my eyes looking at my love have forgotten to wink ;
since, the countenance of my angel, — with one of the eye-brows raised
up, as she composes verses of - love, — bespeaks, with quivering checks,
her affection for me."

Text.

Sangralm. No. 370. The Sangraha again is the accom-

plishment of an object by means of sweet words and a gift.

Commentary.

a. For example in the Ilatnavali.

“ King — Bravo ! my friend, this is your reward, (gives his golden
bracelet. )”

Text.

Anumana. No. 371. The Anumana (Inference) is a con-

clusion from a characteristic sign.

Commentary.

«. As in the drama Janaki Kaghava :

“ llama — Causing the earth to waver even with his careless steps,
and making the heads of all to bow down merely with his looks, ho
with a body radiant like gold, leads us to infer his solar descent as
well as his irresistible prowess.”

Text.

Prarthani No. 372. The Prarthana ^Request) is a wish-

ing or calling for enjoyment, rejoicing, or festivity.

Commentary.

a. For example, in the Ratn&vali : —

“ King — Beloved Sagarika, thy face is the cool-beamed moon, thy
eyes are a couple of blue lotuses, thy bands imitate the red lotus,
that pair of thighs of thine shines like the plantain trunk, and thy
arms may be compared to the lotus-stalk in coolness— come, 0 come,
m y love, who thus gladdencst with every one of thy members, embraeo
me at once without fear, and cool my members tormented with the
hre of love.”

Tho Prarthana only ^ This element— the Prarthana — has been hut
cfTho Gavbh° l0m ° nfc vmi ^ionalhj admitted here upon the opinion of
such as deny that there is any such element as
the Pras asti (see §405.) in the Conclusion or last division of the plot

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The Mirror of Composition .

(Nirvaliana — sec §337) inasmuch as it has a place* here under the
form of this Prdrthand . Otherwise than on this condition , the
elements would amount to 65, whilst they are held to he 64 only .

Text.

Kshipti. No. 373. The development of a concealed

matter is termed the Kshipti (Hint).*

Commentary.

a . As in As'watthdman’s Act or the 3rd in the Veni SmhAra

“ Dreadful has been the effect on the world of that single seizure of
hair (viz. of Draupadl's) — surely mankind will all be annihilated # on
this second seizure ( i . e, of T)rond!s)T

Text.

Trotaka. No. 374. The Trotaka again is a wrathful

speech.

Commentary.

a. For example, in the Chanda Kaus'ika : —

“ Kaus'ika — Ah ! How — are the donations of gold thou hast pro-
mised to me not yet ready ?”

Text.

Adhibala. No. 375. The Adhibala (Overreaching) is an

inquiry or examination by an artifice.

Commentary.

a . For example, in the Ratnavali Act III.

“ Kdjichana-mala — This, my lady, is the picture-gallery — let mu
beckon to Vasantaka &c.”

Text.

Udvcga. No. 376. Fear caused by a king or the like

is termed the Udvcga (Anxiety).

Commentary.

a. For example in the Vcrfi Sanhara, Act V.

“ They have arrived, mounted in one car, inquiring for you hero
and there — that foe of Kama (Arjuna), and that fierce Vrikodam
(Bliima) of wolfish deeds.”

* This is a deviation from tho definition of the Das 'a Riipa and, as is
usual consequence in such cases, it is very obscure, being scarcely reconcile ->1°
with the example.

The Mirror of Composition.

209

Text.

Vidrava. No. 377. By the Vidrava (Confusion) is meant

the hurry occasioned by apprehension, fear, or terror.

Commentary - .

a. For example :

“ There was an indescribable hurry produced in the army of the
monkeys at the sight of the wrath-excited Havana with faces dread-
ful like black Death’s.”

h. Now of the Members of the Vimarsha :

Text.

The Members of No. 378. Apavada, Sampheta, Vyavasdya,
the Vimarsha. Drava, Dyuti, S'akti, Prasanga, Kheda, Pratishe-

dha, Virodhaua, Praroehana, Adana, Chhadana : these belong to the
Vimarsha (§330).

Apavada. Apavdda (Censure) is the declaration of fault.

Commentary.

a. For example in the Vem Sanhdra, Act VI.

“ Yudhishthira. Panchalaka, have you discovered any where the
traces of that wretch ?

“ Panchalaka. Not only his traces hut the wretch himself has been
found, the chief cause of that sin of touching the queen’s tresses.”

Text.

Sampheta. No. 379. The Sampheta is an angry interlo-

cution.

Commentary.
a. As in the same, Act V.

“ King , — O thou son of Vayu, dost thou extol, before the old king,
thy deeds, though detested ? Hear thou — Thy wife, or thine, O beast,
or that prince’s, or the twin brothers’ — the common wife of you all —
my slave won in gambling, was seized by the hair, before the princes,
by my command, the lord of the earth. In that perverse enmity
between me and you, say what harm did the princes do whom thou
hast killed? -and dost thou brag, even without having vanquished
me fiercely proud of the cumbrous property of the might of these
brawny arms ?

“ Bhima. (Angrily) Oh wretch !

“King, Oh villain ! &c,”

2 E

210

The Mirror of Composition .

Text.

Vyavfts&ya. No. 380. By Vyavasaya (Resolution) is to be

understood a vow combined with a reason.

Commentary.

a . For example in the same, Act Y. : —

“ Bhima. He who has destroyed, one and all, the descendants of
Kuril, who, intoxicated as he is with DusY asana’s blood, shall break the
thighs of Duryodhana — hei*e is Bhima bowing down his head to you ,
venerable old uncle”*

Text.

Drava. No. 381. Drava is rudeness shown to a supe-

rior from the agitation of grief or the 'like.

Commentary.

a. For instance in the same, Act YI. : —

“ Yudhishthira . Worthy elder brother of Krishna ! brother of
Subhadrd ! You brought not to mind the affection you owe to your
kindred, nor did you heed a Ksliattriya’s duty, nor the strong friend-
ship that exists between your younger brother and Arjuna ; well,
however, might affection’s chain tie your honour with ecpial strength
to both your disciples — what, alas, is the conduct you have adopted,
that you are altogether averse to my unhappy self?”

Text.

Dyufci. No. 382. The Dyuti is declared to consist in

reviling and vexing.

Commentary.

a. For example in the same, Act VI., the prince Bhima thus
speaks, in bitter language , to Duryodhana :

“ Thou declarest thyself to be born in the spotless race of the
moon ; thou holdcst yet thy club ; me thou countest an enemy, drunk
though I am with the wine of DusYasana’s warm blood ; blind with
pride, thou dealest haughtily even with Krishna, the destroyer of
Madliu and Kaitabha ; and now, thou beast of a man, having, through
fear of me,, quitted the field, shrinkest in the mud.”

* That he is Bhima (fierce) by his very name, and intoxicated with draughts
of hi enemy’s blood is the reason in his vowing to destroy Duryodhana, hia
* dearest enemy/

211

The Mirror of Composition .

Text,

S'akti. No. 383. S'akti is the quelling of opposition

or conflict.

Commentary.

a. For instance in the same : —

“ Whether or not they reduce to ashes the heaps of the bodies of
warriors killed by kindred in the midst of battle — let these surviving
kinsmen, any how gi vo funeral water, mixed with tears, to their dead
relations ; let them seek the bodies of their kindred, amidst this dense
heap of corpses, dissevered by vultures and herons — behold, the sun is
set together with the foes — back let the troops be called.”

Text.

Prasanga. No. 384 Prasanga is a mentioning of one’s

sires.

Commentary

a. As in the Mrichchhakatikd or the Toy Cart, Act X. : —

“ CMnd/ilaka. This is Chdrudatta, son of Sagaradatta, and grand-
son of the venerable Vinayadatta — being led, to be slain,, to the place
of execution, for he has murdered the courtezan Vasantasend, from
avarice of gold,

“ Chdrudatta . That family of mine, purified by a hundred sacrifices,
and formerly extolled in assembly by chanters of the Veda crowding
the house, — is now proclaimed in impure defamation by unworthy
wretches, as I stand in the condition of a criminal to be killed.”

Here we have an instance of the Prasanga in the naming of Chdru-
datta’s sires which suits the present occasion of his being taken to bo
executed.

Text.

Kheda. No. 385. Languor, produced (1) simply in the.

niind, or (2) by bodily exertion is called Kheda (Lassitude),

Commentary

a - Languor, or rather distress , produced in the mind — as in the
Mulati Mddhava (Malati and Madhava), Act IX. : — •

“ My heart bursts in deep anguish, but oh it breaks not into two ;
m y frame distracted faints away, yet it loses not its consciousness
absolutely j the internal flames bum my body, yet they reduce it sot

2 E 2

212

The Mirror of Composition.

to ashes —Fate scourges me, cutting to the very quick, but alas ! cuts
not my life through*’’

6. So, the languor produced by exertion.

Text.

Pratishedka. No. 386. The obstruction of a wishod-for

object is called the Pratishedha (Prevention).

Commentary.

a . For example in my Prabhavati : —

“ Pradyumna . (To the Vidushaka) TIow is it, friend, that you are
alone here — where is my most beloved Prabhavati and her dear friends
the ladies , that attend her ?

“ Vidushalca . She has been called away somewhere by the lord of
the Demons.

“ Pradyumna. (Heaving a deep sigh) 0 ! where art thou gone
having abandoned me, thou, with face like the full moon, with eyes
like the wanton Chakora (partridge), and with a body gently inclined-
quick ly do thou go now, my liie j let Fortune, bent upon tormenting *
me, have her wishes fulfilled.”

Text.

Virodhana. No. 387. The apprehension of failure in the

purpose is called Virodhana (Obstruction).

Commentary.

a . For example in the hey inning of Act VI. of the Veni Saijhara :

“ Yudhishthira. When the mighty ocean of Bhishma has some-
how been crossed, when the fire of Drona has been extinguished, when
the poisonous serpent of Kama has been destroyed, and when S'alya
has gone to heaven, — when our victory has almost been complete, we
all have been at once put in danger of our lives by the rash Bhima
with his words.”

Text.

Prarochana. No. 388. The Prarochana (Persuasion) is to

be known as that which represents the End cis all but accomplished .

Commentary.

a. For example in the Veni Sanhara, Act VI. : —

“ Pdnc%alaka. I have been sent to your Majesty by the Divine
Krishoa. **###*#******‘***

* The italicized part iff from the Das'a Rupa — p. 44.

The Mirror of Composition.

213

Do away with all doubts. Let the gemmed jars be filled with water
for your royal bathing ;* let Krishna hold festivity in the business—
so long neglected — of binding up the braid of her hair ; — when Paras 'u
llama, eradicator of the Kshattra trees, with his hand glistening with
his whetted battle-axe, and lllumasena, blind with rage, move violent*
ly upon the field of battle — what doubt is there of your victory ?"

Text.

Adana. No. 389. The Adana (Taking in) is the sum-

ming up of the main business.

„ Commentary.

a . For instance in the Vcni Sanhara, Act VI. : —

“ What ho ! you who move on the Samanta-panchaka ! I am
neither a demon, nor a goblin ; I am a passionate Kshattriya, who
have crossed the impassable ocean of a dread vow, whose body has
been cooled with the water of enemies’ blood ; — hear, Ye Kshattriya
warriors, left by the devouring flames of the fire of war, forego this
your. terror that impels you thus phrinkingly to lie concealed among
those carcases of elephants and horses.”

Here we have the Adana exhibited in the main business — the
slaughter of all the enemies being summed up.

Text.

■ Chhadana. No. 390. An enduring of insult or the like

for the fulfilment of the Deed is what they call the Chhadana.

Commentary.
a. For example in the same, Act V. : —

“ Arjuna. Worthy sir, let him use us ill — he is powerful in word,
not in deed ; what pain can come from the words of this miserable
man who lias lost his hundred brothers in battle ?”
h. Now of the members of the Nirvahana : —

Text.

The Members of No. 391. Sandhi, Vibodha, Grathana, Nirnaya,
the Nirvahana. Pariblmshana, Kriti, Prasada, A'nanda. Samaya,

Fpaguhana, Dhasbapa, Purvavakya, Kavyasanhara, and Pras'asti :
thus are the members of the Sanhara or Nirvahana (Conclusion — see
§337) severally designated.

. * bathing with the water of various sacred streams is one of the principal
utes in the inauguration of a king, *

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The Mirror of Composition .
Commentary.

a. Of these :

Text.

Sandhi. No. *302. The Sandhi is the noticing of the

Germ (Vija).

Commentary.

a . For example in the Veni Sanhdra, Act VI. : —

“ Bhima . Lady born of the sacrificial altar, do you remember what
I said that day — 4 1 — Bhima will adorn thy hair, 0 princess Ac. ?’ ”
(see § 311, a.)

Here the Germ, intimated in the Mukha, is recalled to the mind ,
and so it is an instance of the Sandhi.

Text.

Vibodha. No. 303. The Vibodha is the seeking after

the End or the consummation of the ultimate object.

Commentary.

a . As in the same, Act Vi.

“ Bhima. Give me, sir, a moment’s leave.

“ Yudhishthira . What more is remaining ?

“Bhima. A good deal is remaining. Lot me bind up the tresses
of Draupadi, that were pulled down by DusVasana, — with these hands
wet with Buryodl mna’s blood.

“ Yudhishthira. Go, let the poor woman enjoy the pleasure of’
having her hair-braid bound up.”

Here, the End, viz. the binding of the hair, being actually sought
after, it is an example of the Vibodha.

Text.

Grathana. No. 394. Grathana is the intimation of the

End.

Commentary.

a . For instance in the same, Act VI. : —

u Bhima . Do not, Draupadi, whilst I live, bind, with your own
hands, thy tresses dishevelled by DusVasana — stay, 1 rayseli am hind-
in g them,.”

Text.

Nbnaya. No. 305. Nirnaya (Certainty) again i*» ^

declaration of a fact personally known.

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The Mirror of Composition .

Commentary.

a. As, in the same, Act VI. : —

“ Bhima. Sire, Ajatas'atru,* where still is that accursed Duryo-
dhana ? — I have cast the body of that wretch upon the earth. With
the blood, as with sandal, I have anointed my body. His fortune I
have brought over to thee together with the earth bounded by the
waters of the four oceans. His proteges, friends, warriors — the whole
Kuru family I have burnt in the fire of war — that name only, which
thou utterest, Preserver of the earth, is now the remnant of the son of
Dhritarishtra.”

Text.

ParibMshana, No. 396. A speech implying censure is what

they call Paribhashana.f

Commentary.

a. As in S'akuntala, Act VII. : —

“ King. Pray, madam, wliat is the name of the royal saint whose
consort is this lady ?

“ Hermit ess. Who will take the name of that deserter of a lawful
wife F”

Text.

Kriti. No. 397. The consolation or confirmation of

the object gained is the Kriti.

Commentary.

a. For example in the Veni Sanhara, Act YI. . —

“ Krishna . The holy sages — Yyasa, Valimki, and others, wait
holding the water for your royal bathing.”

Here we have the Kriti exemplified in the confirmation, by the
auspicious ceremonies of bathing &c., of the kingdom obtained by
iudh ishthira.

Text.

Prasada. No. 398. The Prasada (Gratification) is a

waiting upon or the like.

Commentary.

a ‘ For example in Act VI. of the same, the binding of DraupadPs
bair by Bhima.

YnmSthS gi0aUy “ 0,ie who has not an enemy born — another name of
t In the Das'arupa, this is explained simply to mean a mutual conversation.

216

The Mirror of Composition .

Text.

Ananda. No. 399. Ananda (Joy) is the attainment of what

was wished for or the End.

Commentary.

a. For instance in the same, Act YT. : —

“ Draupadi. Long forsaken and therefore forgotten, I shall again
learn this business of binding up my tresses, through your favour, my
lord”

Text.

Samaya. No. 400. Samaya (the Hour of happiness) is

the removal of misery.

Commentary.

a . As in the Batnavali : —

“ Vdsavadattd. (Embracing Batnavali) Sister, be thou consoled, be
thou consoled !”

Text.

Upaguhana. No. 401. The arrival or appearance of a won-

der is the Upaguhana.

Commentary,

a. For instance, in my Prabhavati Parinaya or the Marriage of
Frabhdvati, the appearance of Narada at which Pradyumna looking
up says : —

“ What is this I behold ! Is it the white mountain Kailasa falling
from the heavens, whitening all space with beams of light bright like
the dewy moon, and inwreathed, as with the lightning’s streaks, with
a garland of flowers wooed with songs by humming bees roving round
for their sweet scent ?”

Text.

Bhashana. No. 402. The Bhashana is conciliation, dona-

tion, or the like.

Commentary.

a. For example, in the Chanda Kaus'ika : —

“ Dharma.* Come, then, inhabit the world of Dharma.

* Yamif', the god of justice and ruler of the southern quarter, — here, as indi-
cated by the milder appellation of Dharma, acting particularly in his character
of the Rewarder of the virtuous, contradistinguished from that of the Bunn* »<■>
of thn wicked, marked by his more common but dreaded name of Yuma'— bon
trotter or Oisciplmer.

The Mirror of Composition .

217

Text.

Purva-vakya. No. 403. By Purva-v&kya (Previous Speech)

.is to be understood a reference to a thing as spoken before.

Comment a itv.

a. As in the Veni Sahhara, Act VI. : —

“ Jilivma. — Well, Buddhimatika, where is our Bhanumati ?* let her
now insult the wife of the Pandavas.”

Here Bhinia vindictively sneers at the taunt used by Bhdnumati
towards Draupadi , in the beyinning of the drama .

Text.

Kuvya-sauhara. No. 404. The occasion of giving a boon is

termed the Kavya-sanhara (Conclusion of the drama).

Commentary.

a , As in all the dramas : “ What may I do to please you further ?”

Text.

Pras'asti. No. 405. The declaration of peace to the

dominion of a king, <fcc. is designated Pras'asti (Benediction).

Commentary,

a . For instance in the Prabhavati : — *

“ May kings henceforth ever view their subjects exactly in the light
of a son ; may the good live long — they who appreciate merit, and
readily discriminate good from evil ; may the earth prosper with an
increasing abundance of corn and wealth ; and may the triple world
have an unflagging faith in N a ray ana, the Supreme Spirit /”

b. Among these members of the Nirvahana , the Upasanhara or
Kavya-sanhara, and the Pras'asti occur only in the end, in one order,
or that exhibited in the text .

W1 . c. “These two are the principal here in the

Which of the Mom-

hors chief in the se- Juncture Nirvahatyi ; the Upakshepa, Pankani,
Veral Junctures. Parinyasa, Yukti, IJdbheda, and Samadhana, in

the Muklia ; the Parisarpa, Pragamana, Vajra, Upan yasa, and Push pa,
in the Pratimukha ; tile Abluitaharana, Marga, Trotaka, and Kshipti,
* n the Garb ha ; and the Apavada, S'akti, Vyavasaya, Praroohana, and
Adana are the most prominent in the Vimarsha. The others too occur
when there is occasion for them.” Such is the opinion of some.

* Duryodluuia’s wife.

2 F

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The Mirror of Composition .
Text.

Jnnotnml Mem- No. 400. These lire the sixty- four kinds of
bers altogether 64< — . , i , , , , ,

niiiy bo promiscuous- members declared by the leiirncd. They may Ijo

ly introduced. admitted into the Junctures even irregularly or

promiscuously^, taking care that they harmonize with the Flavour of

the play ; for Flavour alone is essential in Poetry.

Commentary.

a. For instance in the third act of the Yeni Saiihara the lengthy
dialogue in Yukti or the Determination of Purpose (§818) between
Kama and Duryodhana is introduced irregularly. So in other
cases.

b. As to the declaration of Rudrata and others that it is a rule
to introduce the members into their proper Junctures , it is opposed to
the dramas themselves which are always kept in view as guides in the
formation of the dramatic rules .

Text.

Use of the Mem- No. 4^-7. The use of the Members is sixfold,
bers sixfold. viz. (i) composition of the intended matter, (2)

excitement of surprise, (3) expansion of the plot, (4) increase of the
interest of the performance, (5) the concealment of what is to be con-
cealed, and (G) representation of what is to he represented. As a mail
without his limbs is never fit for work, so a drama without its mem-
bers is not suitable for representation.

The Hero and the Rival Hero should represent the members of the
Junctures ; if they do not perform these, they should represent the
Pataka and the two others (viz. Prakari and Karya — §317) ; and if
not these latter, they should represent the Germ.

Commentary.

a , The members of the Junctures are generally represented by thcr
principal personage, but it is always best if the first three members of
the Juncture Muhhd, i. e. the Upakshepa, &c. (§338) are not repre-
sented by the hero, as the Germ is only slightly hinted in them.

The Mirror of Composition .

219

The Member^ to bo
ini rodueed only in
fcmsomuice with Fla-
vour.

rules.

Text.

No 408. These members are to be admitted
only with the view to the development of Flavour,
and not simply from a desire of following* up the

Commentary,

a. For instance, Duryodhana’s ‘ separation’* (vipralambha — see
§1212) from Bhanumutf, described in the 2nd act of the Vem Saiihara,
is on that occasion, extremely improper.

• Text.

, „ No. 409. An incident, though not opposed to

A Superfluous 7 n 11

matter also, to bo Flavour, yet not necessary to the development of
oniitiul oi .ilUictl. is also (see §804) to be altered by the wise, or

not mentioned at all.

Commentary.

a. Illustrations of the two cases implied in the text arc evident
enough in my dramatic works.

b. Now of the Actions (vritti) :

Text.

The four dramatic No. 410. Tlio Kais'iki is used in the Erotic ;
Aciiuus or Styles. the Sattwati, in the Heroic; the Arabhati, in the
Furious ; and the action called (he Bharat! is always employed in the
Disgustful Flavour. These are the four actions, the parents of all
representations in the Nafcaka and other sorts of the drama , being
particular performances of the Hero or the like.

Commentary.

a. Of these the Kais'iki is defined thus ; —

Text.

The Kais'iki do- No. 411. That performance is called the Kais'i-
fm0(i * lu which is associated with charming vivacity

(§91), which is peculiarly delightful from the fascinating dresses worn
therein by the heroine and others, in which women abundantly take
part, dancing and singing arc fully indulged in, and the actings arc
hmnded on the enjoyments of love,

* Arising from his jealous suspicion of her unfaithfulness.

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The Mirror of Composition .

It has four elements — (1) Narma (Pleasantry),
(2) Narma-sphurja (Development of love), (3)
Narma-sphota (Bloom of love), and (4) Narma-garbha (Covert love).

The four elements
of the Kais'ikf.

a . Of these :

Commentary.

Text.

(1) The Narma. No. 412. The Narma is a witty jest tending
Its three varieties. to charm the beloved : this again is held to be
threefold according as it is used (1) in pure joke, or (2) joke mixed
with love, or (3) joke mixed with fear.

Commentary.

The Narma of pure a - Of these, the Narma employed in simple joke
j° ko * or raillery — as in ltatnavali in the follo wing words

of Vdsavadatta to her husband :

“ Vdsavadatta. — And this another — a female shape — that is por’
trayed beside you — is this worthy Vasan taka’s skill in painting

Narma of Love. Narma of love — as in S'akuntala :

“ S'akuntald. — (To the king). If not satisfied, what would he do ?

“King. — This. ( Determines to kiss S' ak untold.)

" S f akuntald. — (Turns away her jace .)”

Narma of Fear. Narma of fear or frightening joke — as, in Rat-

navali, when the king had found the picture —

“ Susangatd. — I have come to know the matter including the pic-
ture, so I am going to inform the queen of it.”

Thus has the Narma pertaining to speech been exemplified; So
the Narma pertaining to dress and action, or practical jest.

Text.

(2) The Narma- No. 413. The Narma-sphurja (§411) is the

sphurja. first un i on 0 f two lovers in which there is joy

in the beginning, but fear in the end.

Commentary.

a. The following is an instance in ‘Malavika and Agnimittra
where the heroine Malavika has resorted to the hero, her lover in the
appointed K place.

“ Abandon, 0 fair one, the delicacy thou feelest in our* first union
Long have I been expectant in love, and now, as I fancy myself the

The Mirror of Composition . 221

fragrant mango tree, assume towards me the character of the Atimukta
creeper.*

“ MdlaviJcd . — The fear of the queen prevents me, my lord, from doing
my own good, &c.”
b. Now of the Narma-sphota :

Text.

(3) The Narnia- No. 414. The Narma-sphota is held to be fla-
sphota. vour (the Erotic) slightly suggested by glimpses

of love.

t COMMENTABY.

a. “ Languid is his pace and vacant his sight, his body is beauty-
wanting and his respirations increased — what may be the cause of
it ? — what other than this ? — Cupid’s command roves through the
world, youth is tickle, and those soft and sweet things are ever apt to
disturb all fortitude. 0

Here we have the love of Madhava for Malati somewhat manifested
by slight indications of love, such as his languid pace, &c.

Text.

(1) The Karma- No. 415. The Narma-garbha is the action of
garbha, the amorous hero in concealment.

Comm ent aby.

а. For example in the same drama as quoted above — the prevention
of Malati from killing herself by Mudhava in the disguise of her female
friend.

б. Now of the Sattwati (§410) : —

Text.

The Sattwati dofin- No. 416. The Sattwati is a performance

ed. Four Kinds of it. abounding in the displays of energy, bravery,
generosity, benevolence, and honesty. It is joyful, has little of love
in it, is devoid of grief and attended with the Marvellous. The Uttha-
paka, the Sanghatya, the Sanlapa, and the Parivartaka arc declared to
be the four kinds of the Sattwati.

(1) TheUttkapa- A speech calculated to excite the enemy is
termed the Utthdpaka (Exciter).

* ‘The Gcertnera racomosa’ — Wilson.

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The Mirror of Composition .

COMMENTARY.

a . As in the Viracharita : —

“ To my joy and admiration art thou seen by mo, or rather to my
grief — how can my eyes be satiated with the sight of thee, fair, valor .
ous 9 and virtuous youth. But the joy of thy friendship is not to bo
shared by me* — wliat need then is there of much talk — let this hand
illustrious with the victory of Jamadagnya grasp the awful bow.”

Text.

(2) The Sangha- No. 417. The Sanghatya is abroach of alliance

under the influence (1) of counsel, (2) of money,

or (3) of Fortune.

Commentary.

a. Sr each of alliance under the influence of counsel or machination
— as, in the Mudra Itakshasa, the division of liakshasa’s allies by the
cunning of Chanakya. — That under the influence of money is also
exhibited in the same drama. — That under the influence of Fortune is
exemplified in the separation of Vibliisliana from Havana in the IliimA*
yana.

Text.

(3) The Sanlapa- No* 418. The Sanlapalca (Conversation) is an

ka* elevated interlocution embodying a variety of

sentiments.

Commentary.

a. For example in the Viracharita :

c< JR/ma. — This, I believe, is that battle-axe which the Great S'iva
presented you — his disciple for a thousand years — gratified by youi*
defeat of the War-god together with his attendants.

“ Saras u Mama . — llama, child of Das'aratha, this is the same loved
battle-axe of my adorable master”t — and so forth.

Text.

(4) Tho Farivar- No. 419. Doing of actions other than that

taka - commenced is the Farivar taka (Deviation or

change).

Commentary.

a. For instance in the Veni Sanhara

* This clause is obscure and has consequently called forth a variety ot t e.uh
ings. I have followed the reading adopted in Fundit Taranatha Tarkavaenab*
pati's edition of the drama, 1807.

t The Heroic Flavour with a mixture of ‘love fora deity/ ITide al
here *iig<*c:icd.

223

The Mirror of Composition .

“ ffliima.— Saliadeva, go you and follow the sire (Yudhisthira),
whilst I am entering the arsenal and furnishing myseli with arms — or
I must at first take leave of Draupadi.”

1, Now of the Xrabhati (§410) : —

Text.

Tho Arabhaff Ao- No ' 420 ' Tho ^ rablla t' is held to be a vebe-
fined. Its four divi- men t performance consisting of magic, conjuration,
slons * conflict, rage, distraction, imprisonment, slaughter,

ami other such acts. Yastutthapana, Sampheta, Sankshipti, and Ava-
piitana are declared to be the four divisions of the A'rabhati.

(1) The Yastut- Things raised up by magic or the like arc spoken

thapana. of as the Yastiitthapana (Conjuration).

Commentary.

a. As in the Udatta Itaghava : —

« Whence is this ? — that the powerful and glorious rays of the sun
himself have suddenly been vanquished by the hosts of night-born
darkness covering over the heavens — that these jackals, with bellies
putted up with draughts of blood sucked from the throats of horrible
headless corpses, ejecting flames from the caverns of their mouths,
utter such sharp fearful yells.”

Text.

(2) The Samphe- No. 421. Sampheta is a mutual encounter of

t a - the angry and the agitated.

Commentary.

a. For instance, in Malati Madhava the encounter of Madhava
and Aghoraghanta.

Text.

( 3 ) t 1io gank- No. 422. A brief arrangement of some matter,

Bliipti. by contrivances of art or otherwise, is termed tho

Sankshipti ; — as also the replacement of a character by another, on
the removal of the former.

Commentary.

u, Of the first kind we have an instance in the Udayana Chari ta,
or ‘ Actions of Udayana* in the contrivance of the straw-made elephant.
■~-The second sort is exemplified in the J ira-chanta in the replace-
ment of Balin, on liis death, by Sugriva; or in the change of Taras' u
Jhhna from a haughty to a peaceful character, indicated in his speech
loginning — ‘ The pure nature of the Brahman.’

224

The Mirror of Composition .

Text.

(4) The Avapata- No. 423. The Avapdtana is a medley of en-
na< trance, terror, exit, joy, and flight.

Commentary.

a . As in the 6th act of the Kritya-Ilavana, the scene opening—
* Enter a man sword in hand,’ and terminating with the exit.

Text.

No. 424, The Bharati, the fourth of the dramatic actions mentioned
in §410, has already been described (see §285).

Commentary,

a. Now of the dramatic phrases : —

Text.

Dramatic phrases. No. 425. Something which is not to be heard
or is spoken to one s self on the stage is called Swagata* or Speech
Aside ; what may be heard by all is termed Prakas'a or Public. A
secret of another uttered by one turning aside is called Apavarita or
Speech Apart. The mutual whisper of two persons in the midst of
the conversation of the company, preventing, as it were , the others
from hearing by means of the three -bannered hand is termed Janan-
tika. When in the action a person speaks beginning — “ What do you
say ?” without the presence of any addressed, as if hearing something
though not really spoken, it is called Akds'abhashita or Speech in
the Air.

Commentary.

0 . When any thing is spoken to another away from the person
from whom it is to be concealed, the speaker raising his hand in the
form called the ‘three-bannered’ i. e, with all the lingers raised but
the ring-finger lowered — it is called Janantika. The expressing of
another’s secret by turning away is Apavdrita. The rest of the text
is clear.

Text.

How certain char No. 426. The names given to courtezans
racters to bo named, should contain the word 1 dattd,’ 4 siddh&, or
‘ sena* ; those of merchants should generally end in dattu ; and those
of male and female servants be the names of things described, foi
instance, as connected with the Spring.

* Lity.— Self- abiding, inward, -secret.

225

The Mirror of Composition .

Commentary.

a, A courtesan’s name — such as .Vasantascna ; a merchant’s, as
Vishnudatta ; a male servant’s, as Kalahansa (gander) ; a female ser-
vant’s, as Mand&rika.

Text.

How the Nataka No. 427. The Nataka should be named so as
to bo named. to indicate the matter contained.

Commentary.

a. Thus, for example, 4 Ramabhyudaya’ or the Triumph of Rama.

Text.

The Prakarana, &c. No. 428. The Prakarana &e. are to be named
how to be named. after the hero and tho heroine together *

Commentary.

a. As for instance — 4 Malati and Madhava.’

Text.

The Natika, &c. No. 429. Tins Natika, the Sattaka, and others
how to bo named. are to be designated after the heroine.

Commentary.

a. Thus— Itatndvali, Karpuramanjari, &c.

Text.

„„ , ,, , „ No. 430. The causal form of the root ‘ sadh’

luo root ‘satin for t f .

* gam* used in the is generally used instead ol 4 gain m the sense of
dramas.

going.

Commentary.

a. For instance in S akuntala, the two sages say 4 sadhaydvas
tavat’ — meaning — 6 We go then.’

Text.

Tho characters No. 431. A king is to be addressed by his
how addressed. servants— 4 Lord’ (swdmin) or 4 Sire’ (deva), and

Wrntta by low persons ; by royal sages and the Vidushaka 4 Friend’
(vayasya) ; by saints— 4 King,’ or by a patronymic. A Brahman is to
be accosted by Brahmans optionally by his patronymic or proper
name, and by the other classes — 4 Sir’ (A'rya). The Vidushaka is to
be addressed by a king— 4 Friend’ (vayasya), or by his name. The
Manager and the Actress are to be mutually addressed by the term

. * 4 As a general rule,’ adds the commentator, *for we seo such a name as

Saugandhikaharaua .'

2 a

22 a

The Mirror of Composition,

A'rya (Sir). The Paripars'wika or Assistant Manager (see §287. a.)
should call the Manager £ Bha^a,* and the latter should accost the
former by the title of Marisha. Equals are addressed — £ Hande’
among low persons ; Vayasya, among men of the highest class; and
‘ llanho’ among those of the middling class. An elder brother is to
be called, £ Sir.’ Those who bear the insignia of a Divine Saint
(Devarslii) are to be addressed by all — £ Bhagavan’ (lioly sage). The
Yidushaka should give the queen and her female attendant the title of
Bhavati (Madam). A driver should address the chariot-rider—
4 A'yushman’ or 1 Sir — long live you.’ One not old should call an old
man — ‘Father* (Tata). A son is to be addressed — Vatsa (darling),
Puttraka (child), Tata, or by his proper or family name ; and so also
a disciple and a younger brother. A minister is to be accosted--
4 Arya’ by low men ; and £ Minister’ (Amatya) or £ Sadova,’ by the
Brahmans. A devotee and one with subdued passions are addressed
by the wise — £ Sadho’ (Holy Sir). A revered person is accosted bv liis
disciple and others by the epithet Sugrilutabhidha’ (Sir of auspicious
name). A spiritual tutor is to be addressed — (Jpadhyaya (master) ; ;i
monarch — Maharaja (great king) ; a prince co-regent (yuvaraja)- -
swamin (lord) ; a prince — Bhartridaraka. A prince is addressed by lmv
men — £ Saumya* (gentle sir) or ‘ Bhadramukha’ (You of benign face).
The daughter of a king is to be called by his subjects — Bhartyidarika.
Women are to be addressed in the same manner as their husbands by
m<Mi of the high, middling and low classes. Among the women themseltw,
an equal is to be accosted — £ Hala,’ a maid-servant — £ Hanye,’ and a
courtesan — £ Ajjuka.’ A procuress is to be addressed by her adherents
— Amba (mother). Thus also is a venerable old woman to be addressed
by all persons. The Pashandas (infidels) are to be called by their own
sectarian names. The S'akas are to be accosted by such names as Bhadra-
datta, Ac. Generally a person is to be addressed after his occupation,
art, learning, or caste. So according to propriety is it to be understood
of others.

Comment aky.

a . Now of the division of dialects : .

Text.

Distrilmtion of N< >- ‘ il32 - Men ,lot 1<,w > 1111,1 e,1u(:atei, >
dikdccU. speak the Sanskrit, and women similarly circum-

227

The Mirror of Composition.

stan ced arc to speak the S'anraseni dialect. These, however, should em-
ploy the Maharashtri in songs or verses. The Magadhi is mentioned as
the tongue of those who move in the inner apartments of a king. The
dialect of servants, princes, and merchants is the half Magadhi. The*
Prachya (Eastern i. e. the Gaudiya) is the dialect of the Vidtishaka
and others ; the Avantika, of gamesters ; and the Southern dialect
(i. e. the Vaidarbhx), of soldiers and citizens while gambling. The
Siikari should be used by left-hand brothers-in-law, the S'akas and
others. The Vahliki dialect belongs to the people of Northern India ;
tlie Dravidi to the people of Dravida ; the Abhiri, to the cowherds ;
tlie* Obandali, to the Chanda) as and others. The Xbhiri and the
S'avari are spoken by those who work upon wood and leaves, as also
by charcoal -makers. The Pais achi is the tongue of the Pis'achas
and also of female attendants; these latter, if not mean, speak the
S'auraseni. This dialect belongs to hoys, eunuchs, mean astrologers,
and mad and diseased men ; and sometimes the Sanskrit. Mendicants
and ascetics &c. must employ a Prakrit dialect. The Sanskrit is to be
used by noble women, hermitesses, &c., as also, according to some, by a
queen, a minister’s daughter, and a courtesan. The language of a low
person must be that of his country, and men of the highest and middle
classes too change their tongue — the Sanskrit, when necessary. A
woman in general , a female friend, a hoy, a courtesan, a gambler, and
a nymph are to be made occasionally to speak Sanskrit in order to set
elf their wit.

COMMENTARY.

a. Illustrations of these are to be observed in the Storehouses — the
dramas. Descriptions of the different dialects are to be found in the
bhasharnava or Ocean of Dialects of my adored father.

Text.

Further elements No. 433. The thirty-six Lakshanas, the thirty-
of the drama. three Dramatic Embellishments, the thirteen Mem-

bers of the Vi tin (see § 521) and the ten divisions of Lasya must be
employed in it, with a view to the development of Flavour, where
occasion requires.

CoMMf'NTARY.

a ' ‘ Must ho employed where occasion requires’ — this is the con-
hection. — ‘ In it* i. e. in the Nat aka.

^ Of these, the Lakshanas arc the following ;

2 g 2

223

The Mirror of Composition .

Text.

The 36 Lakshanas. No. 434. Bhushana, Akshara-sanghdta, S'obha,
Udaharana, Hetu, Sans'aya, Drishtanta, Tulya-tarka, Padoclichaya,
Nidars'ana, Abhipraya, Prapti, Vichara, Dislita, Upadishta, Gunati-
P^ta, Atis'aya, Vis'eshana, Nirukti, Siddhi, Bhrans'a, Viparyaya,
Dakshinya, Anunaya, Mala, Arthapatti, Garhana, Prichchha, Prasid-
dhi, Sarupya, Sankshepa, Gunakirtana, Les'a, Manoratha, Anukta-
siddhi, and Priyavachali.

Commentary.

a. Among these —

Text.

Bhushana. No. 435. The Bhushana (Ornament) is a com-

bination of Excellences (Chapter VIII.) and Embellishments (see
Chapter X.)

Commentary.

a. For example : —

“ The Lotuses, O fair one, reflect on the beauty of thy face : what
indeed is beyond their power ? — furnished as they are with a treasury
(kosha*) and a rod (dan da).”

Text.

Akshara-sanghata. No. 436. The Akshara-sanghata or Sum of
Syllables is a discourse in a few words of charming import.

Commentary.

a. As in S'akuntala, Act III. : —

“ King . I hope your dear friend is not too much afflicted by the
feverf of her body.

“ Priyamvadd. It will be soothed, now that it has had its remedy.”

Text.

S'obhfi. No. 437. A speech bearing a striking import

in the form of a double-entendre, in which an acknowledged matter
is implied along with things intended to he established — is called
S'obha or Elegance.

# Kosha and Danda respectively mean a bud and a stalk as well as a treasury
and a pufiishing rod. The word rod answers well to the Sanskrit Danda.

t The original has 8'arira-santdpah, or, as is supposed by the’ commentator o
the present work, as'arira-santdpah (flame of the Incorporeal one or Kama) whic
latter might be meant by the king, thus implicitly and explicitly — as the clause
is equally resolvable into both these readings. '

The Mirror of Composition.

229

Commentary.

a. For instance : —

Though born in a good family (or, as the words signify also the
properties of a bow — formed of a good bamboo), himself pure in other
respects , giving ten millions (or, yielding its ends), and possessed of
accomplishments (or, bearing a string), a severe master, like the
twanging instrument of war, is assuredly to be shunned by the good.

Text.

Udaharana. No. 438. When analogous facts are adduced

in establishing an intended matter — it is held Udaharana or Example.

Commentary.

a. For example :

“ Well hast thou acted in following to the woods thy lord who
transcends the world ; what is the Beauty of day without the sun, and
what is Night without the moon ?”

Text.

Hutu. No. 439. The Hetu is a brief speech conveying

the intended meaning by showing a reason.

Commentary.

a. As in the Vem, Act I. where the female attendant repeats to Bhlma
the words she had spoken to Bhdnumali the wife of Duryodhana :
“ I spoke to her thus — How are the locks of our queen to be bound
whilst yours, Bhanumati, are not yet dishevelled ?”#

Text.

Sans 'ay a. No. 440. The uncertainty implied in the speech

of a person not knowing the truth is Sans 'ay a.

Commentary.

a. For example in the Yayati Vijaya

“ Is this the Beauty of the Lord of the heavens, or the daughter of
a Yaksha, or is she the goddess of this spot, or Uina herself ?”

Text.

Drishtanta. No. 441. Drishtanta is the showing of a

reason for the establishment of a matter or circumstance in respect of
the subject of the discourse .

* The reason, observes the commentator, of Dranpartf s tresses not being
bound up is the circumstance of Bhanumatfs not being let down. Under this
reason is briefly intimated that Duryodhana must die before the outraged wife
of the Pandavas should bind her liair- and this is the ‘ intended meaning.*

230 The Mirror of Composition .

Comment a i iy.

a . For example in tlie Vein, Act I. : — “ Bid met.* Sire, this is
quite befitting her, for she is Durvodhana’s wife”— and so forth.

Text.

Tulyatarka. No. 442 The Tulyatarka is a surmise made,

from a matter coincident with nature’s eourse.f

Commentary.

a. For instance in the same, Aet II. : —

“ Bliima. Frequently indeed are dreamt dreams* both auspicious
and inauspicious; but this number of a hundred seems to touch Inn
together with my (99) brothers.”

Text.

Padochchaya. No. 443. A combination of words echoing In

the sense is the Padochchaya.

Commentary.

a . As in S'akuntala, Act I. : —

“lied like the tender leaf is her under-lip, her hands imitate the
soft sprout, and charming like a full-blown (lower is the fas// of
youth glowing in her members.”

Here the words are equally soft witli the things implied.

Text.

Nidars'ana. No. 444. When well known facts are adduced

for the purpose of refuting the opinion of others, it is termed the
Nidars'ana.

Commentary.

a. For example :

“ Away, princes, away with the duties enjoined to a Kshattriya, in
the destruction of a foe : Kama sent forth his arrow against Kalin
while turned away in fighting against another person.”

* It should bo Sahadcva , yefc the manuscript I have consulted as well as
Dr. Rocr’s edition reads lihima.

t Thus explains the commentator adopting the read ing prahriti - <ja mind instead
of prak ritim*gdinind as read in Dr. Ilnur’s edition. I should prefer the latter hs
conforming more to the example ( — for our scholiast ib not always to bo trusted
even in his reading and less in his explanation—), and refer the text thus :

Tulyatarka (Analogy,) is a surmise made from a circumstance touching
nun. ter in question.

231

The Mirror cf Composition .

Text.

Abliipraya. No. 445. The Abliipraya is tlie supposition of

an impossible* matter under a similitude.

Commentary

a. For example in S'akuntala, Act I. : —

“ 14c the saint who wishes to make this unartiScially charming body
endure the rigors of asceticism verily desires to cut the S'ami tree with
the edge of the blue lotus leaf.”

Text.

P/iipti. No. 416. The Frapti is when something is

guessed from a certain peculiarity in the object with respect to 'which
the conjecture is made .

Commentary.

a. For example in my Prabhavati : —

tk My beloved Prabhavati must bo known by this bee that wanders
every where.”t

Text.

Vichara. No. 447. The Vichara (Argument) is the

establishment of an imperceptible matter by reasonable words.

Commentary.
a. For instance in my Chundrakala : —

“ King, She certainly conceals in her heart the perturbations of a
powerful love, since she smiles without real joy, -sees not aught though
apparently staring, and gives an incongruous answer when spoken to
by her fair friend.”

Text.

Dishta. No. 448. The description of one under the

similitude of time or place is called Dishta.

Commentary,

«. For example in the Vein, Act I.

“ Sakadava. Asuredly shall this Draupiuli, like the Season of rains,

* Dr. Roc vs edition reads (°f a marvellous matter) instead a

which is adopted by the MSS, of the text and scholium that I havo

^’Tisultod.

t Wandering everywhere is the peculiarity in the bee, from which is guessed
knowledge ofFrabhavati,

232 The Mirror of Composition .

enhance the fire, like lightning, kindled to-day in the angry prince
(Bhima).”

Text.

Upadishta. No. 449. The Upadishta (Advice) is a winning

discourse in conformity with the Scriptures.

Commentary.

a. As in S'akuntala, Act IV. : —

“ Serve your superiors, behave like a loving companion towards your
fellow-wives, be not sullen even though reproached through anger by
your lord*’ — and so forth.

•

Text.

» Gun&tipata. No. 450. Gunatip&ta is an action opposed to

the excellences that one possesses.

Commentary.

a. For example in my Chandrakala : —

“ ChandralcaM. (To the moon.) Though thou destroyest darkness,
dwellest on the head of Pas'upati,* and thy feet (rays) are touched
by all, yet dost thou take the life of women.”

Text.

Gunatis'aya. No. 451. The Gunatis'aya is held to be the

superiority of the compared to what is compared to, consisting in the
former's possession of merits in excess over those that are common
to both.

Commentary.

a . As in the same drama : —

“ King. (Pointing to Chandrakala’s face.) Where didst thou get,
O fair-faced one, that moon, devoid of spot, and ever full, though never
associated with Night,f with a couple of full blown fresh blue lotuses
quivering within, with a conch shell shining below, and with a collec-
tion of bees glowing above ?”

Text.

ViVoshokti. No. 452. The Vis'eshokti is the distinguish-

ing of one of two things compared , after the declaration of many re-
nowned qualities belonging to the other,

* Lord of the creatures, a name of S'iva. .

t the original which means also — * without connection with

a fault/

233

The Mirror of Composition.

C OMM ENTAlt Y.

a. For example : —

“ A pond is pure, a remover of thirst, a dwelling of birds, the native
seat of lotuses,* and loved of men, yet it is dull — a place of water
amil thou art wise.”

Text.

Nirukti. No. 453. A declaration of a thing previously

effected is termed the Nirukti.

Commentary.

p. For example in the Venf, the stanza beginning — “ He who has
destroyed, one and all, the descendants of Kuru,” &c. ( — see §380, a.)

Text.

Siddhi. No. 454. The Siddhi is the declaration of

qualities , severally belonging to many, to be in one combined , for the
conveyance of an intended meaning.

Commentary.

a . For example

u The strength that belongs to the king of tortoises, and the power
that is possessed by Vasuki, reside united in thee, 0 monarch, in the
[ reservation of the Earth.

Text.

Bhrans'a. No. 455. The speech of a proud man or the

like, being the reverse of what was intended by tint to be spoken, is the
Bhrans'a (slip).

Commentary.

a. For example in the Veni :

“ Duryodhana . (To the eunuch.) Ere long will Panda’s son, through
his prowess, destroy Duryodhana in battle, with his proteges, with his
kindred, with his friends, with his sons, with his brothers,”

Text.

Viparyaya. No. 456. The Viparyaya is the alteration of a

determination under a doubt.

* The threo epithets, in the original, corresponding to these mean respectively
also — ‘ sinless/ ‘ satisfier of a thirst of gain/ and ‘ giver of prosperity/

t This word means * of idiotic apprehension/ and, by the allowable exchange

? for ^ it means 4 * a place of water 1 also.

t The extolling of fcho king's protective energy is the 1 intended meaning/

2 H

234 The Mirror of Composition .

Commentary.

a . For example :

“ Those who, deeming the world miserly, resolved to be contented,
act not consistently, 0 King, with respect to your majesty.”

Text.

Dakshinya. No. 457. Dakshinya (Complaisance) is com-

pliance with the wishes of others by words or deeds.

Commentary.

a . Complaisance in words — as —

“ Protect the city Lanka, thou, Vibhishana, art the King : to one
befriended by the adorable Rama there is no obstacle to prosperity!”

b. So Complaisance in deed.

Text.

Anunaya. No. 458. Anunaya (Conciliation) is the ac-

complishment of a purpose by means of kind words.

Commentary.

a. As in the Vem, Act III., the speech of Kripa to As'watthaman—
“ Equal to Drona in valour, and versed in the science of heavenly
arms, what art thou not capable of?”

Text.

Mala. No. 459. Mala (garland or string of things)

is an offer of many things or services for the attainment of a desire.

Commentary.

a. As in S'akuntala, Act III. :

“ King . Shall I move the cooled air with fans of the cool ami
refreshing lotus-leaves, or shall I, my taper-limbed charmer,* place
thy lotus-red feet upon my lap, and knead them to thy comfort ?”

Text.

ArtMpatti. No. 460. Arthapatti is when by the assertion

of some thing, some thing else is suggested.

Commentary.

a. As in the Vegi, Act III., the following speech of the King
(Duryodliana) to Kama as he was declaring that Drona wished to
place 1m son As'watth&man on the throne : —

* Lit. One with thighs resembling the part of the metacarpus between the
wrist and the little finger.

235

The Mirror of Composition .

“ Ring. Well spoken , monarch of Anga, well spoken . IIow can it
be otherwise— if what you say is not the true reason , how comes it to
be, that the great warrior, having at first bidden him not to fear,
should take no heed of Sindhu’s King, while he was being killed by
Arjuna ?”

Text.

Garhana. No. 161. Garhana is a reproach consisting in

the proclamation of a fault.

Commentary.

0 . As in the same, Act III, : —

“ As watthaman. (To Karna) Arc my weapons powerless, as thine
are under the influence of thy master’s curse <fcc. ?”

Text.

Frichclihd. No. 162. Prichclilia (Inquiry) is hold to be

an inquiry after a matter in respectful terms.

Commentary.

a . For example in the same, Act IV. : “ Sundaralca. Have you,

worthy sirs, seen the emperor Duryodhana with his charioteer or not ?”

Text.

Prasiddlii. No. 163. Prasiddhi is the announcement of

one, under relation to excellent and noted things or persons.

Commentary.

a. As in Vikramorvas'i :

“ King. He whose grandfathers on the maternal and paternal sides
are the sun and the moon ; who was chosen husband of their own
accord, by both Urvas'i and Earth.”

Text.

Saiupya. No. 461. Sarupya is a passionate treatment of

one mistaken for another through resemblance.*

Commentary.

As in Act VI. of the Vein, Yudhislithira, mistaking Bluma for
Duryodhana, addresses him — “ Thou accursed wretch, Duryodhana! &e.”

* Poor’s oditiopof tlio original has a difference of reading in this text—
gamely ahhibhutixsya for which the scholiast adonis and whinh r

have followed.

236 The Mirror of Composition .

Text.

Sankshopa. No. 465. It is Sankshepa when one offers

himself, in short words, in the service of another.

Commentary.

a. For example in my Chandrakald : —

“ King . My beloved, why wouldst thou thus vainly pain thy limbs,
tender like the S'irisha flower ? — here (referring to himself) is thy ser-
vant ready to get thee thy wished-for flowers.”

Text.

Gunakirtana. No. 466. Gunakfrtana (Applause) is but the

declaration of excellences.

Commentary.

a. As in the same, the passage beginning — “ 0 thy eyes mock the
wagtail.’’

Text.

Lcs'a. No. 467. A speech resting upon a similitude

is termed the Les'a.

Commentary.

a . As in the Veni : —

“ King . That same glory will be ours which the sons of Pamlu
acquired having killed the decrepit Blnshma by placing S'ikhandin*
before him.”

Text.

Abhipraya. No. 468. Abhipraya is the expression of a

desire in an indirect manner.

Commentary.

a. As —

“ Behold, thou of beautiful brow, behold, the swan, engaged some-
what in caressing sports and languishing with love, fondly kisses Ins
beloved.”

Text.

Anukta-siddhi. No. 469. An extent of surmise in speaking of

persons or things in a particular (i. e . laudatory) manner is termed the
Anukta-siddhi.

* The daughter of Drupada metamorphosed into a male, and hence not a
person for Bhishma to fight with — him whoso dread heroic vow would not pornu
him to cast weapon upon one who had oven once been a woman.

The Mirror of Composition .
Commentary.

237

a. For example : —

“ These two, wise lady, that you behold before the beautiful moon
arc, we believe , Tishya and Punarvasu* of blessed names,”

This is addi'essed to Sitd by her female friends , viewing Hama and
Lahslmana seated before Vis'w&mittra the saint , and poetically
surmising them to be the said luminaries .+

Text.

Fiiya-vachali. No. 470. Priya-vaehah (Agreeable discourse)

is a gratifying speech in credencing a venerable person.

Commentary.

a. As in S'akuntala, Act VII. : —

“ The flower first comes to sight, then the fruit ; the clouds rise
first, afterwards descend the rains : such is the order of the cause
and the effect in nature , but, superior over physical causes , your pro-
pitiousness is preceded by blissful fruits.”

b. Now of the Dramatic Embellishments (§433) :

Text.

Tho Dramatic Em- No. 471. AY ih, A'kranda, Kapata, Akshanm,
bcllislimcnts. Garva, Udyama, AVraya, Utprasana, Spriha,

Akshobha, Pas'ehattapa, CJpapatti, AVansa, Adhyavasaya, Visarpa,
Ullekha, Uttejana, Parivada, Niti, Artha-vis eshana, Protsahana,
Sahayya, Abhinuna, Anuvartana, Utkirtana, Y ichna, Parihara, Nivc-
dana, Pravartana, Akhyana, Yukti, Praharsha, and Upades'a : these
are the Dramatic Embellishments, being means of ornamenting the
drama.

As'xh, As'fh (Blessing) is a friend’s benediction.

Commentary.

For example in S'akuntald, Act IV.

“ Be thou greatly regarded by thy husband, as was S'armishtha by
Yayati, and mayest thou get an imperial son, as she did Puru.”

Text.

Akranda. No, 472. A'kranda (Crying) is a lamentation

through grief.

# Tho seventh of the lunar astorisms, Tishya being the eighth,
t So much from the commentator,

238

The Mirror of Composition .
Commentary*

a. As in the Vein : —

“ JEunuch . Oh madam, Oh Kunti, glory of the royal house ! &c.”

Text.

Kapata, No. 473. Kapata (Treachery) is when another

form is assumed by means of magic*

Commentary.

a . As in Kulapatyanka (the Act of Kulapati) :

“ Having quitted the form of a deer and assumed a treacherous
appearance, that demon, combating Lakshmana, is driving him to a
dangerous position.”

Text.

Akshama. No. 474. Akshama (Non-forgiveness) is wlion

even a slight offence is not endured.

Commentary.

a . As in S'akuntala, Act V. : —

“ King. 0 truthful man, vve grant this, but what shall we gain
by imposing upon her P

“ S'drngctrava. Destruction !” — and so on.

Text.

Garva, No. 475. Garva is a speech proceeding from

pride.

Commentary.

a. As in the same, Act VI. : “ King. What, are my houses too

infested by spirits ?”

Text.

Udyama. No. 470. Udyama (Undertaking) is the com-

mencement or design of an action.

Commentary.

a. For example in the Kumbha : “ RAvana. Overpowered as I am
by grief, I will meet death.”

Here is hinted RAvana' s design of fighting.

Text.

As'raya. No. 477. The having recourse to any one fm’

some excellent purpose is termed As'raya (Resort).

The Mirror of Composition .

239

Commentary.

a . As in the act named “ The Reproach of Viblnshana “ VibJri -
sham. To Rama will I resort.”

Text.

Utprasana. No. 478. Utprasana (Derision) is a ridicule

by a man not good, yet imagining himself to be good.

Commentary.

a . For example in S'akuntala “ Sarngarava. Supposing, Sir
King, your majesty has forgotten the past incidents in the company
of others, how should you abandon your wife, afraid as you are of
unrighteousness r”

Text.

A'kanksha. No. 479. Akanksha (Desire) is a longing for

a thing, out of its charmingness.

Commentary.

a. For example in the same :

“ King . 0, the under-lip of my beloved, tender and unbitten,

sccins, as it quivers so sweetly, to give my thirsty self permission to
such its nectar .”

Text.

Kshobha. No. 4S0. Agitation occasioning the use of

reproachful terms is styled the same, viz., ICshobha (Agitation).

Commentary.

a. For example :

“ Thou ruffian of a devotee, that killest concealed, hast not only
destroyed Bdlin, but cut off thy own soul from the world to 001110 .”

Text.

Anutapa. No. 481. A repentance for an object slighted

through folly is termed so, i. 0 . Anutapa (Repentance).

Commentary.

As in the Anutapanka, or the Act named Repentance , of a
certain drama : “ Rdma . Did not my angel kiss me then many
a time though having blamed me but in jest (?) &c\”

210

The Mirror of Composition .

Text.

Upapatfci. No. 482. Upapatti (Argument) is the giving

of a reason for the establishment of a matter.

Commentary.

a. As in. the Badhya-s'ila (The Block of the Condemned) : —

“ Preserve thyself at the expense of my life, if thou wishest her to
be living, who dies if thou diest, and who lives if thou livest.”

Text.

As'ans£. No. 483. A wishing for one's self is As'ansa

(Desire).

Commentary.

a. As in Mdlati and M&dhava , the desire of Madhava in the ceme-
tery shown in these words of his : “ May I then once more see her

face, the blissful home of Love !”

Text.

Adhyavasaya. No. 484. Adhyavasaya (Resolution) is a vow,

or an expression of determination «

Commentary.

a . For example in my Prabliavati : —

“ Vajranabha . Bruising in a moment his breast with this club,
sportively do I destroy both your worlds.”

Text.

Visarpa. No. 485. Visarpa is an action done, leading

to an evil result.

Commentary.

a. As is indicated in the Veni in tlie couplet beyinning — “ Direful
has been the effect on the world of that single seizure of hair,”
(§373. a.)

Text.

Ullekha. No. 486. A mentioning of a purpose is termed

Ullekha (Mention).

Commentary.

a. As in S'akuntald: “ Ascetics. (To the king). We proceed to
bring fuel. There you see the hermitage of our spiritual tutor, the
sage KSpwa, on the bank of the Malini, graced by the fair S'akuntala
as by its presiding deity. If no duty be thus neglected, do you go nl >
and accept the services due to a guest.”

The Mirror of Composition. 241

Text.

Uttejana. No. 487. Harsh words uttered to etcite or

exasperate another for the completion of one’s own object are called
Uttejana (Provocation).

Commentary.

a. For example :

“ Of awful valour art thou, Indrajit, powerful only by name : fie ! fie !
distracted with dread of me, thou Tightest concealed.”

Text.

Parivada. No. 488. Parivada (Censure) is a reproof.

Commentary.

a. As in 1 Sundara’s Act 1 or the fourth of the Venisanhtira : c£ Bur*
yodhana . Fie, fie T charioteer, what hast thou done ! 0 the evil man

will do evil to my boy, wanton by nature, &c ”

Text.

Niti. No. 489. Niti is acting according to the

Scripture.

Commentary.

a. As in S'akuntala Act I. : “ Bushyanta. One must enter the
sacred wood of holy saints in a humble guise.”

Text.

Artlia-vis'eshana. No. 490. A rcprehens.ve repetition of some
thing uttered by another is termed Artlia-vis'eshana (Particularization
of a thing).

Commentary.

a. As in S'akuntald, Act V. : “ S'arngarava. (To the King.)
Ah ! what mean you by saying ?— -*■ what is this that has been spoken !
Are not you, Sir, well conversant with the manners of the world ? A
married lady living in her father’s house is regarded with suspicion by
the people, chaste though she be ; a wife, therefore, whether beloved
cr not, is wished by her relations to be with her husdiand..

Text.

FrotsaW. No. 491. Protsahana (Exciting) is the urging;

°1 any one by stimulative words.

2 i

242

The Mirror of Composition L

COMMENTARY.
a. As in the Bala Rdmayana :

“ She is dreadful like the Night of the universal dissolution — why
hesitatest thou, because she is a \jroman ? Do thou, child, strike tlm
female demon TadakS, and preserve the triple world.”

Text.

Sahayya. No. 492. Sahdyya (Assistance) is the helping

of another in danger.

Comment aey.

a . As in the Vegi : “ As'watth&man. (To Kripa t ) Be you jflso
attending at the side of the King.

Kripa . u I am determined to-day to revenge, &c.”

# Text.

Abhimana. No. 493. Abhimana (Pride) is just what the

name implies — a speech of pride.

Commentary.

a . As in the same, Act V. : “ Duryodhana. Unbecoming and
poor are thy words, mother” — and so on.

This is the answer given by the unconquerable pride of Duryodhana
to the conciliatory words of her mother ,

Text.

Aniivyitti. No. 494. Anuvritti (Complaisance) is courteous
humility.

Commentary.

a. For example in S'alcuntala, Act I.: “King. (To S'alcuntald.)
Are your devotions prospering, lady ?

Anasuyd. Yes, by the reception of a particular guest now &c.”

Text.

Utldrtana. No. 495. By Utkfrtana (Rehearsal) is meant

the relation of past incidents.

Commentary.

a. As in the IJflla Ram6yana :

“ Here were we bound in the serpent noose, and Ijere was brought
the Droi^a frill by Hanumat, when your brother-in-law (Lakshmana)
had been struck by R&vana’s dart deep in the heart,” '

The Mirror of Composition . 248

Text.

Y»clin&. No. 496. A request made personally, as is

sometimes the case, or through a messenger, is termed Yachna (Asking),

# COMM^TARY,

a. For example :

“ Do thou give back Sita even now : Rama is gracious towards
thee : why wouldst thou make the fierce monkeys play the game of
balls with thy heads ?”

Text.

Farihara. No. 497. Begging pardon for a fault com-

mitted is termed Parihara (Apology).

Commentary.

a. For exam]fle : “Overwhelmed with the pangs of expiration I
have uttered improper words ; pardon me therefore, lord — and I
entrust Sugriva to thee.”

Text.

Nivedana. No. 498. Nivedana (Announcement) is the

intimation of a*duty neglected.

Commentary.

a. For example in the Kaghavabhyudaya : “ LaJcshmana . What
are you about, Sire ; are you going to sue the ocean ?”

Text.

Pravartana, No. 499. Pravarta m (Commencement) is the

happy commencement of an action.

Commentary.

«. As in the Veni, Act VI. : King, Eunuch, out of our reverence
for the divine son of Devaki, let suitable preparations be commenced*
for the joyous festivity to he held on dear Bhitna’s victory.”

Text.

Akhydna. No. 500. Aldiyana (Narration) is the declara-

tion of a previous event.

, Commentary.

a. As in the same : “ This is that place in which ponds were
filled with the liquid of the enemies’ blood Ac.”

2 T 2

244

The Mirror of Composition,

Text.

Yukti. No. 501. Yukti (Reason) is the settlement of

a question by reason .

COMMENTABY.

er. As in the same, Act III. : “War being shunned, were there
no dread of death, fit would it be to fly the field ; but if a creature
must necessarily die, why would you thus vainly taint your glory

Text,

Praharsha. No. 502. Praharsha (Ecstasy) is an excess

of joy.

Comment aet.

a . As in S'akuntala : “ King . Why then should I not congratulate
mysqjf, now that my desires are all fulfilled ?”

4 Text.

S'iksha. No. 503. S'iksha (Instruction) is advising.

Commentabt.

a. As in the same : “It is not proper, friend, for a person dwell-
ing in a hermitage freely to go away, leaving a particular guest
unentertained.”

These Lakshanas and Dramatic Ornaments, though gcnerically
the same, arc spoken of distinctively in pursuance of established cus-
tom. And though, among these, some are included severally under
the heads of Excellence (China — see Chap. VIII.), Ornament (Chap.
X.), Incomplete Flavour (§ 245) and the members of the Junctures
(§ 338 <&c.), they have been particularly mentioned here, as they are
carefully to be . employed in a Nataka. That these must be used in
the Nataka, is established by the following dictum of the sage :

• “The poet must compose the Nataka thus : It must contain the
five Junctures (§ 332), the four kinds of Action (vritti), the sixty-four
mqjnbers, and the thirty-six Lakshanas. The style must be elevated
and embellished with the Ornaments, the use of soft or feeble-sounding
words being avoided. It should represent great characters* and good

* Here instead sf mahdpurusha-sanchdram, the reading I have followed,^ the
commentator reads mahdpurusha*s(\t>karam and explains it — mahdpurushanam
satkwro gu^vopnamm yatra (—where tho excellencies of great mon are de-
scribed). Tfo passage, however, in this and soveral other places, is extremely
obscure, and I have, sometimes, been forced to follow the commentator's inter-
pretation.

The Mirror of Composition . 245

deeds. It must be full of exquisite relish and noble sentiments.
Having its Junctures well connected, it should be suitable for repre-
sentation, as also interesting and delightful.”

c. The members of the Yithi shall be mentioned hereafter (see
(§ 521). He states the Members of the Ldsya,

Text.

The Members of No. 504. Geyapada, Sthitapdthya, Asina,
tlio Lasya. Fushpagandikd, Prachchhcdaka, Trigddha, Sain-

dhava, Dwigudha, Uttamottamaka, Uktapratyukta : These are the
ten members or varieties of the Ldsya declared by the learned.

Commentary.

a. Among these — #

Text.

Goya*pacla. No. 505. The Geya-pada (Ballad) is simply

a song* sung to the Vina by one seated on a seat.

Commentary.

d. For example, listen to Malayavati singing to the Vmd in the

temple of the goddess Gauri : *

(l Goddess of radiance yellow like that of the farina powdering the
filament of an expanded lotus, 0 blessed Gauri, may my desire be
fulfilled by thy grace !”

Text.

Sthita-pathya, No. 506. When a woman, burning with love,

stands reciting Prakrit it is designated Sthifa-pdthya (Recitation of
one standing).

Commentary.

a. The venerable Abhinava Gupta, however, says — £ What is
declared in the text with respect to a woman is elliptical, the utterance
of Prakrit by one infuriate with rage being also Sthita-pathya/

Text.

Asma. No. 507. When a woman under grief and

anxiety sits without any ornament on her body, and without any
musical instrument, it is termed Asma (the Seated).

* Pushpaganijika. Whfn songs are sung accompanied with music,

and verses of diverse metres recited , and when the men and women
act contrarily to their nature, this is called Pushpagamjiika.

* i. e. not accompanied with dancing.

240 The Mirror of Composition .

Prachclihedaka. When a woman considering her lord to be in
love with another, and grieved by his infidelity, sings in concert with
the Vina, it is designated Prachchhedaka (Breach of Affection).

Trigiidha, The agreeable acting of men in the dress of

women is Trigudhaka (the Thrice -covert).

Commentary.

a. An example of the last sort occurs in ‘ Malati and Madhava’ :
“ Malcaranda . I here have become Malati !”

Text.

Saindhava. No. 508. When one disappointed in an assig-

nation chants Prakrit in concert with a clear musical performance, it is
called Saindhava.

Commentary.

a. ‘ Performance’ (Karana ) — L e. a play on the Vina or the like..

Text.

Dwigudhaka. No. 500. A song of harmonious numbers, full

of flavour and sentiments, in, the shape of an interlocution* is termed
Dwigiulha.

Uttamottamaka. The Uttamottamaka (The Most Excellent)

again is a poetical song, sung in anger or grace, charming from a
variety of metres, containing reflections, and accompanied with the
graces termed , respectively , 1 hava’ (see § 127) and held (§ 128).

Uktapratyukta. A conversation in song, associated with 4 viva-

city’ (see § 91), and containing feigned reproofs is spoken of as the
Uktapratyukta (Speech and llcply).

Commentary.

Examples of these are evident in the dramas .

Text.

No. 510. This, when containing all the Pataka
Sthanakas or Telling Points (see § 299) and con-
sist ing of ten acts, is called by the wise the Great
N&taka (Mah&nataka).

What entitles the
Nataka to the name
of the Great Nataka.

* In th^original, mv&UapraHmukhdnwitam which the scholiast so interprets,
— mvkha and firaUmukha meaning, according to him, speeoh and reply respec-
tively. The Junctures so called have apparently no connection here.

The Mirror of Composition . 247

Commentary.

a. This i. e. the Ndtaka. — For example, the Bdla R&mayaga.

I . Now of the Prakarapa :

Text.

The Prakarana do- No. 511. The story of the Prakarana must
scribed. be mundane or human , being invented by the

poet. Love should be the principal sentiment in it ; and the hero
must be a Brahman, or a minister, or a merchant, of the description
called ‘ firm and mild’ (see § 69), and intent upon meritorious deeds,
objects of desire, and wealth, such as are subject to destruction or bring
but* transitory pleasure here or hereafter , being sought with selfish
motives .* •

Commentary.

a. A Prakarana with a Brahman hero is such, for example, as "the
Mriehelihakatika or The Toy Cart ; one with a minister for its hero is
Malati and Madhava ; and one with a merchant hero, the drama
Pushpabhushita.

Text.

No. 512. The heroine in the Prakarana is sometimes a woman
of family, or a courtesan, or both. So there are three divisions of it,
the third of which is crowded with such characters as a cheat, a
gambler, &c., the ‘ humble friend’ (see § 77) and the ‘ dependent.’

Commentary.

a. An honourable woman is the heroine, for instance, in the Push-
pabhdshita ; a courtesan in the Rangadatta ; both an honourable
woman and a courtesan are heroines in the Mriclichhakatika.

b. Since it has the Nataka for its type, it resembles it in all other
respects.

c. Now of the Bhana :

Text.

The Bhana do- No. 513, The Bh£na is a piece in one act, con-
Bcnbed * ‘ sisting of a variety of incidents not progressively

developed , being other than those included under the fire stages of the

* The portion in italics is according to the interpretation .of the commontntor.
He says — Merit is transitory (s'fpaua) when sought as a door to swarga or the
Bhort-lived bliss of Indra’s heaven ; Objects of desire are perishable when
children or cattle tp wished for ; and Wealth is so, when desired for enjoyment.

248 The Mirror of Composition

Deed* (see § 324). In this an expert and learned 1 vita’ (§ 77 ) must,
singly represent on the stage what has been experienced by himself or
others. He should accost, speak, and reply, as if he were addressing
one actually present (lit. by the akas'a bh^shita — see § 425) ; and
suggest the Heroic and the Erotic by descriptions of heroism and
beauty. The fable must bo invented by the poet , and the Action
(vpitti — see § 410) should generally be the Bharati (§ 285). This
species has only the Junctures Mukha and Nirvahana, and all the
ten members of the Lasya.

Commentary.

a. In the Bhana one should make replies and rejoinders, quoting
the suppositious speeches' of another — technically called Aerial Dis-
course.

I . The Erotic and Heroic Flavours are to be suggested by
descriptions of beauty f and heroism.

c . Commonly the Action Bharati, but sometimes the Kais'ilu too
is employed.

d . The Members of the Lasya — i. e. the Geyapada, &c. (see § 504).

e. The Lilamadhukara is an example of this class of plays.

f Now of the Vydyoga.

Text.

The Vyayoga de- No. 514. The Vytyoga must have a well
scribed. known story for its plot, its dramatis persona

consisting mostly of males and but few females. It should be in one
Act, and devoid of the Garbha and the Vimarsha (see § 335 and 336).
It should represent a contest the occasion of which is not a woman, and
should be without the Action Kais'ilu. The hero must be a celebrated
personage, being a royal saint or a god, of the class styled 4 firm and
haughty’ (see § 67). The principal Flavours of this variety are to be
other than the Comic, the Erotic, and the Quietistic.

Commentary.

a. For example, the Saugandhikaharar^a.

1. Now of the Samavakara :

* Such is the explanation of the Commentator, the original having merely—

* consisting of afarietyof other conditions or stages/

t In the original, which means also * happiness i^love/

The Mirror of Composition. 249

Text.

The' Samavakara No. 515. Of the Samavakara the fable should
described. be we p[ fe nowrij pertaining to gods and demons. It

has all the Junctures (§ 332) except the Vimarsha, and consists of three
acts, the first of which contains the first two Juncturea, and the latter*
two comprise the others respectively. It has twelvo high-spirited heroes,
being well known Divinities and Demons, each of whom obtains a
separate fruit. The Heroic is to be the most prominent of the Flavours
and the Action Kais'ilu is to be seldom employed. The Vindu and the
Praves'aka (§ 309 and 319) are dot admitted ; but the thirteen members
of the Vi thi (sec § 521) may be employed according to occasion. It is
composed in a variety of metres, principally the Gayatri and the Ushnih.
It must represent the triple Love, the three-fold Circumvention, and
the three Vidravas. The business of the first act must occupy twelve
Nadikas ; that of the second, three ;* and the fourth, two.

Commentary.

A couple of ghatikasf is called a Nadika. — The Vindu and the
Ptaves'aka (see § 309 and 319), though mentioned in the description
of the Nataka, must not be admitted here.

I. Now —

Tho three species
of Love, Circumven-
tion, and Confusion,

Text.

No. 516. Love is three-fold, as being (1) con-
formable to the Law, (2) for the sake of money,
or (3) fronynerc voluptuousness. Circumvention
‘or delusion’ again- is of three sorts, bein'; (1) natural or caused by
natural agencies ; (2) contrived or effected by the enemy ; and (3)
preternatural. And Confusion (Vidrava — see § 377) also has three
varieties , according as it is caused (1) by things inanimate, J (2) by
rational beings, § or (3) by irrational animals.

Commentary.

a. Of these, Lawful Love is love indulged in not in opposition to
scripture. Mercenary Love is love made for the purpose of obtaining

* The Daa'arupa has four instead of three (tisribhih) which latter reading, how-
over, is evidently from a very natural mistake of the scribes - changing chztasri*
hhih into thaUsfihkih.

t A * ghajikd * U equal to two-fifths of an hour.

t Lit. Things un sentient.

§ Lit. Sentient .beings. .

* 2 K 1

250 The Mirror of Composition .

•

money. Voluptuous Love is comic love, such as is represented in the
satirical play called Prahasana ( — see § 533). Of these, the voluptu-
ous love must be described in the first act ; as to the others, they say
there is no rule.

6. * Irrational animals 1 (lit. sentient and unsentient beings) are
the elephant and the like.

c. The drama in guesiion (§ 515) is called Samavak&ra (sam -j-
ava -f- kri, to disperse), as a multitude of things is huddled together
in it. — The Samudra Mathana or the Churning of the Ocean is a
specimen.

d. Now of the Pima :

Text.

The Dima de- No. 517. The Dima must have a celebrated
scribed. story for its plot, and abound with representations

of magic, conjuration, war, rage, bewilderment, and eclipses of the
sun and moon . The Furious Flavour should be the principal in it,
the others being subservient to it. It is recognized as comprehending
four acts ; the Vishkambhaka and Praves'aka (see § 308 and 309) are
not to be employed in it. Its heroes should be sixteen in number,
being extremely haughty, such as a god, a Gandharva, a Yaksha, a
Rakshasa, a Serpent (Mahoraga), a ghost, a sprite (Preta), a goblin
(Pis'acha) The Kais'iki is excluded from among its actions, and
the Vimarsha, from among its Junctures. The Quietistic, the Comic,
and the Erotic being avoided, it mu^t^low with the six other Flavours.

COMMENTAItY.

a. According to the great sage, the Tripura Daha, or Conflagration
of Tripura is an example.

b . Now of the rii£mnga :

Text.

The fhamylga. No. 518. The Thamriga is described to com-

prise four Acts founded on a mixed story (see Com.), and to contain
the Junctures Mi^ha, Pratimukha, and Nirvahana. The hero and
the rival hero in it may be indifferently a mortal and a god, both
illustrious and * firm and haughty 1 (§ 67). The other (see Com),
covertly commits improper acts. The 1 semblance of love 1 (see § 248)
in him, as he endeavours to obtain a divine lady against her will by

The Mirror of Composition. 251

violent or artful means, is also to be exhibited slightly. The heroes
of the Pat6ka (see § 320) must be ton haughty characters, being either
divinities or mortals. The wrath of the enemy being provoked, war, by
some artifice, is prevented from taking place. Magnanimous personages,
though described in the .original story as killed, are not to be so
represented here. Some again declare it to be in one Act and to have
a divinity for its hero. Others allege that there should be six heroes
in it, a war for a divine female being the subject .

COMMENTAEY.

a. * Mixed’ i. e . partly popular and partly invented.— ‘ The other’
i. 0 . the rival hero. — The heroes of the Patdkd, or assistants of the
hero and the rival hero, should he altogether ten. — This species is
designated the fhamriga, as the hero in it seeks (lbate) a female as
unobtainable as a doer (mriga). The Kusumas'ekhara Vijaya and the
like are specimens.

J. Now of the Anka or UtsrishtikdnJca :

Text.

The Utsrishtiyn- No. 519 * Tho Utsrishtikanka is a piece in a
ka, ^ single Act, ordinary men being its heroes. The

Pathetic is the permanent Flavour in it, abounding, as it does, in
lamentations of women and words of self-disparagement* The plot
should be a well known story expanded by the poet’s imagination.
The Junctures, the Actions, and the Members are to be the same with
those of the Bhana (§ 513).« War, victory and defeat should be
verbally represented.

Commentary.

a. Some allege that it is named Utsmhtikdnka to distinguish it
from the Anka (Act), the common division of the Nataka and other
dramas* Others, however, deriving the name from ut (tram) and
srlshti ( creation or plot), explain it a play whereof the business trans-
gresses (utkranta) or contravenes the common rules . The S armishthd
Yayati is an example ;

b . Now of the Vithi : —

* Prof. Wilson, seems to have misunderstood this passage, when ho says that
the Anka is considered by some 1 a supplementary Act &o. —see Hindu Iheatre,

h p. 17.

2 £ 2

252

The Mirror of Composition.

Text.

The Vithf. No. 520. The Vithi should be’in one Act, and

represent any one character who, by means of surprising replies made

to speeches called Voice in the Air (£423), must suggest the Erotic

Flavour in full, as also other Flavours in some degree. Of the

Junctures it has the Mukha and Nirvahana, and contains all the
* '

Sources of the End (.see § 317).

Commentary.

a . 1 Any* i. e. of the * best/ the * middling/ or the 1 lowest* descrip-

tion (see § 75). — The piece being full of the Erotic Flavour, the
Action Kais'iki is extensively used in it.

Text.

The thirteen ele- No. 521. The learned mention thirteen ele-
ments of the Vxthf, ments as belonging to it : these are .Udghatyaka,
Avalagita, Prapanclia, Trigata, Clihala, Vakkcli, Adhivala, Ganda,
Avasyandita, Nalika, Asatpralapa, Vyahara, and Mridava.

Commentary.

a. Among these, the Udghatyaka* and the Avalagita have been
defined and illustrated under the head of the Prastavana (see § 2b9
and 293).

Text.

Prapancha. No. 522. The Prapanclia . (‘Delusion) is held

to be a conversation founded in falsehood and exciting laughter. f

Commentary.

a . 'For example in the Vikramorvas'i, beginning of Act II., the
laughable dialogue between the Vidushaka and the female attendant
in the turret on the top of Pururavas' palace.

Text.

Trigata. No. 523. The Trigata is the application of#

more than one meaning to a sentence from a sameness of sound.

* The definition of it given by our author is quite distinct from that in the
Das'arupa, III, 12.

f This d^nition too is entirely different from Dhanaryaya’s, though only one
word is changed.

253

The Mirror of Composition .

Commentary.

a. As in the same drama, where Pururavas inquires for his Love ,
lost in the woods , of a mountain which is called in Sanskrit 1 JcshitU
Ihrif (preserver of the earth).

“ King. 0 thou chief of those that preserve the earth, has a woman,
all beauteous, separated from me, been seen by thee in this charming
wood? ( Sears the echo.) How ! 4 seen’ he says.”

The inquiry itself is here construed into a reply ( — the same words
in the original eqiutlhj serving for both.)

b. According to some (Dhananjaya), it is to be used only by the
three — the Actor & c., # the name being a compound of 4 tri (three) and
* gata (pertaining to).

Text.

Clihala. No. 521. Chhala (Treachery) is a deceiving

by the allurement of words apparently friendly but inimical in reality.

Commentary.

a. For example in the Veni : —

44 j Bhlma and Arjuna. Where is that proud king, venerated by
Dnho'asana and Others — his hundred younger brothers, the friend of
Anga’s King (Kama), who played those tricks at gambling, who set
fire to the lac-made house, who was expert in seizing the hair and
garment of Draupadf, whose slaves are the Pandavas, — where is that
Duryodhana ? — give notice, ye menf — we have come to see him.”

Text.

•Clihala as defined No. 525. But ‘others assert that Chhala is a
by others. speech uttered, with some object in view, in such

a manner as to deceive, amuse, or provoke a person.

Vakkeli. The Vakkeli is a passage exciting laughter by

moans of two or three rejoinders.

Commentary.

. a. The expression 4 two or three’ tropically implies even a greater
number.

* By tbo &o. is meant perhaps, the Manager or the Actress and the Associate
(Bee § 287).

t Dr. Bdor reads if W instead of WW which latter might

also bo rendered simply — * tell (me) ye men.’

254 The Mirror of Composition,

l. The following is an example :

“ Dost thou eat flesh, mendicant ? — What need of it without wine ?
— Wine too is agreeable to thee ? — Ho ! agreeable it is, together with
harlots. — But a harlot seeks money, and whence gettest thou that ?—
By gambling and theft. — Your honour then indulges in gambling and
theft also ? — What else can he the course of a reprobate ?”

Text.

Other definitions No. 520. Some allege it (Vakkgli) to mean a
of Vakkeli. breaking off in a speech commenced, — before its

sense is complete. And others define it a single answer to a variety
of queries.

Adhivala. By Adhivala is meant an interlocution of high

words in mutual defiance.

Commentary.

a . For example in my Prabhavati : *

“ Vajrandbha. Having bruised even in a moment his (Pradyumna’s)
breast with this club, I shall sportively destroy both your worlds
to-day.

JPradyumna . Enough of this magniloquence, thou wretched demon.
Let this earth be in a moment delightful to the flesh-eating fiends—
drenched with the blood of the whole multitude of the Titans under
the showers of arrows issuing from the mighty bow grasped by my
rigid hand.”*

Text.

Ganda. No. 527. The Ganda is a hurried or sudden

speech, casually connected with a matter in hand — though having a
different signification (i, e . having no real reference to what it chances
to be connected with).

. Commentary.

a . For example in the Vem :

“ King . My thighs indeed, O thou of taper thighs, f are fit long
to be occupied by thy loins.

Enter Eunuch,

Eu . Broken, Sire, broken Ac. ” (see § 302, d .)

* Lit. tiled on the rod of my hand,

t Lit. One with thighs like the lower part of the hand (Karabha),

25 $

The Mirror of Composition .

Here the words importing the breaking of the chariot-flag are con-
strued into the sense of the breaking of 3 Duryodhana’s thighs, which
actually happens to take place towards the end of the drama .

Text.

Avasyandita. No. 528. Avasyandita is the interpretation of

a speech contrary to the sense in which it wa&frst spoken.

Commentary.
t a. For example in the Chhalita Kama ;

“ Sitd . To-morrow, child, thou art to go to Ayodhya : thou must
please the King with thy humility.

Lava , Are we two, henceforth, to be the dependents of a King ?

Sitd. He is your father, child.

Lava . Is the lord of the Ragliu family our father ?

Sitd. Apprehend not otherwise — he is not only the Father of you
two, but of the entire Earth. *

Text.

Nalikti. No. 529. The Nalika is but an enigma (prahe-

lika) associated with pleasantry or jest.*

Commentary.

a. An answer concealing the real meaning is a * prahelikd.’ — The
following is an example of it (Nalika) from the Batndvali : —

a Smangatd . Even here, my friend, stands he for whom thou hast
con^.

Sdgarikd . For whom have I come ?

Susan. Nay, for the picture.”

Here is concealed the meaning—* Thou hast come for the King’s
sake.”

Text.

Aaat-pralapa. No, 530. An irrelevant (1) speech, or, (2)

reply, or (3) salutary words spoken to an unwise person, though not
accepting them, are termed Asat-pralapa (empty speech}.

Commentary.

a. Of these the first description is exemplified in the following
lines from my drama Prabhavati : —

* The circumstance of its being attended with joke, says the Commentator,
constitutes its distinction from Avasyandita.

266 The Mirra? of Composition .

“ Pradyumna . (Rejoicing at the sight of the mango plant.) Aha !
how ! Is it here that she with hair beautiful like the bee-swarm,
breathing sweet fragrance, with hands soft like the tender leaf, speak-
ing with the Kokila’s sweet voice— is it here that my slender-formed
beloved dwells ?”

So an irrelevant reply. The third sort is such, for example, as in
the Veni, the speech of Gandhari to Duryodhana,

Text.

Vyahara. No. 631. Words spoken for the sake of another,

exciting laughter and desire, are termed Vyahara.

Commentary.

a . For example in ‘ Mulavika and Agllimitra , : —

“ (MdlaviJcd, at ike end of her dancing performance , wishes to go.
out.)

Vidus haka. Nay, thou shalt not go untaught.

Slave . (To the Vidushaka) Say, sir, what violation of the rules
of propriety you have observed in her behaviour ,

Yidii. A Brahman must first be entertained, and this duty has been
neglected by her.

MdlaviJcd . (Smiles).” — and so forth.

These words of the Vidushttlca exeifmg, as they do, joy and desire
in the hero, as he thereby observes the purity of the heroine— are an
instance of the Vyahara.

Text.

Myidava. No. 632. When (1) faults turn into merits,

or (2) merits into faults, it is termed Mridava.

Commentary.

a. The following are examples, respectively : —

“ Love of life and cruelty, ingratitude and want of affection — these
in me have become merits, now that I see him (my lord) again.”

“ 0 ! that beautiful form of her, ornamented with the lustre of
youth, 0 ! that sole diffuser* of joy in me has now turned to be my
affliction.”

» < Soli»M*fen<kof mj joy —if instead of be the read-

ing adopted.

257

The Mirror of Composition .

These elements, though also occurring in the Nfitaka and others, and
expressly admitted therein, are here illustrated, because they are
necessarily to be admitted into the Vithi.

As to the name Vithi (garland), this kind is so designated, as a
variety of sentiments resides in it, as it were, in the shape of a garland,
or, in other words , as it is a garland wreathed with sentiments.

The Malavika is an example. Now of the Prahasana :

Text.

ThePraliasana de- No. 533. The Prahasana is a representation
scribed. of reprobates invented by the poet, resembling the

Blfflna in the number of its acte, in its Junctures, and Members of the
Lasya.

Comments by.

a . Herein is not to be admitted the Action Arabhati (§ 423), nor
the Introductory Scenes Vishkambhaka and Praves'aka (§ 308).

Text.*

The Pure Praha- Nos. 534-35. The Comic is the principal Fla-
sana - vour in it, and the members of the Vithi (§521)

may or may not be introduced. When the hero in it is an impudent
character, being an ascetic, a mendicant, a Brahman, or the like, it is
called Pure Prahasana.

Comment ary.

a. The Kandarpa-keli or ‘ Sports of Love’ is an instance.

Text.

The Mixed Praha- No. 536. When ounded on any character
Bana ‘ whatever, it (the Prahasana) is known as the

Mixed Prahasana.

Commentary,

a . For example the Dhurta-charita or 4 Action of the Rogue.’

Text.

The Mixed Praha- No. 537. Some call that the Mixed Prahasana
sana * which represents the character of a multitude of

reprobates. This again may either consist ot two Acts or merely of
one act.

* JE&oer’s edition hag this divided into two distinct texts, and inserts, as com-
mentary to the first, the word WM which can have no meaning here, nor is it
found in my MS. *

258 The Mirror of Composition .

Commentary.

a . For example the Natakamelaka or the like.

b. But the sage declares — “ That in which a courtesan, a slave, a
eunuch, a gallant, a rogue, and a harlot are represented without a
change in their appearance, dress, and proceedings — is named Mixed
jPrahasana.”

Text.

The Vikfifca Pra- No &18. That they call the Vikrita Praha -
hasana. sam or j? aYce 0 j* Disguise, in which an imbecile,

a eunuch, and an ascetic are represented with the guise and language
of a gallant, dancer, soldier, &c.

Commentary.

a . This sort being implied in the division of the 1 Mixed’ is not
separately mentioned by the sage.

b. Now of the Uparupakas or minor forms of the Drama .

c. Of these :

Text.

The N&tika de- No. 539. The Natikd is founded on an invent-
scribed, ed s tory, consisting of four acts, and abounding

with female characters. The hero in it should be an illustrious prince,
and a character ‘ gay and thoughtless, yet firm’ (§ 68). The heroine
should be a maid of royal family, newly in love, belonging either to
the inner apartment of the hero, as an attendant of the queen , or
employed as a musical performer. The hero, fallen in love with her,
conducts herself restrainedly from fear of the queen. The queen,
older than the other lady and also of royal family, should be a bold
woman, every moment in indignation. The union of the two is ,to be
under her control. The Kais'iki must be the action employed in it,
and the Junctures should be without the Vimarsha.*

Commentary.

a . 1 Of the two* — i. e. of the hero and the heroine. — The Ratna-
vali, Viddha-s'alabhanjika and the like are examples of this hind .

i. Now of the Trotaka : —

# So explains the commentator the expression— which
would be*" more naturally rendered — “ The Juncture^ with but a scanty
VimapaW*

The Mirror of Composition *
Text.

259

The Tro$aka de-
scribed.

No. 540. A performance in five, seven, eight,
or nine acts, founded on the story of a demigod,
and representing, the Vidushaka in every act, is designated Trotaka.

Commentary.

a. Prom the very circumstance of the Vidushaka’s being repre-
sented in every act, it is to be inferred that Love is the chief senti-
ment in it.

8. Of the Trotaka in seven acts the Stafnbhita-?*ambha is an exam-
ple, and the Vikramorvas'f, of^hat in five acts.

c . Now of the G-oshtM ;

Text.

Tho GoshthC do- No 541. The Goshtlu ig graced with nine or

scribed. ten common characters, does not contain lofty

discourse, and employs the Action Kais'ikf (§ 411). It is devoid of
the Garbha and Vimarsha (§ 335 and 333) and represents five or six
female characters ; it represents love and enjoyments, and consists of
one act.

Comm ent Ait y.

a. For example the Raivata Madanika.— Now of the Sattaka : —

Text.

The Sattaka de- No. 542. The Sattaka has all its recitations,

scribed. Qr ^yceches, in Prakrit, and is without the Prave-

s'aka (§ 309) and Vishkambhaka (§ 308).. The Marvellous Flavour
prevails in it. Its acts are named Javanikd, It is like the Nd^ikd in
other particulars.

a- The Karpdra-manjari is an example.

b- Now of the Natya-rasaka :

The Natya-rdsaka No. 543. The N%a-r/tsaka is in one act and

described. abounds in dancing and music. A 4 high-spirited'

personage (see § 65) is to be the hero in it, and his ‘ comrade’ (§ 76),
the secondary hero. The Comic and the Erotic Flavours are chief in
it. The heroine, is to be one * prepared in her house’ (§ 120), It
contains the Junctures Mukha and Nirvahatia and the ten Members-
of the Lusya (see § 504). Some would exclude from it the Juncture
Pratimukba ulpne.

2 £ 2

260

The Mirror of Composition *

Commentary.

a . Of these two descriptions , as answering to the two different
opinions mentioned in the Text, the 4 Narmavati’ is an example of the
kind with two Junctures ; and the Viiasavati, of that with four June-
tures.

b. Now of the Prasthana.

Text.

The Prasth&na de- No. 544. In the Prastliana, the hero and the
scribed. heroine should be slaves or servants, and the

secondary hero a low person, and the action must be that called
Bhdratf (§ 285). Drinking of wine to the consummation of "the
end in the drama . It is in two acts. Music and song and festivity
are plenteously indulged in.

* Commentary.

a. The S'ringaratilaka is an example. — Now of the Ullapya.

Text.

The Ullapya de- No. 545. The Ullapya should have a divine
scribed. plot, a 4 high-spirited’ hero, and consist of one act.

* It is associated with the Members of the S'ilpaka, and with the Comic,
Erotic, and Pathetic Flavours. Tho Ullapya, according to some,
should be in three acts, have four heroines, abound in combats, and be.,
delightful with songs in triplets.

COMMENTARY.

a. The Members of the S'ilpaka shall be stated hereafter. — The
Devf Mahadeva is an example of this kind.

b. Now of the Kavya.

Text.

The Kavya de- No. 546. The Kavya is in one act, devoid of
scribed. the Action Arabhafi (§ 420), and full of tho

Comic. It is graced with songs named Khandamatra, Dwipadika
(distich) and Bhagnatala. It employs also the metres Varnamattra,
and Chhaddalika. It is a love-story with a high-spirited hero, and
similar heroine, using the first two and last Junctures (viz. Mukha,
Pratimukha, and Nirvahana).

Commentary.

0 . T]re ‘ Yddavodaya’ or Rise of Ybdava is an example.

6. Nv-w of the Pyenkhana.

The Mirror of Composition .

261

Text.

The Prenkhana No. 547. The Prenkhana is in one act, devoid
described. of the Garbha and Vimarsha (§ 335 and 336) as

also of the Yishkambhaka aud Praves'aka; the hero being a low
person. Angry interlocution and single combats form its subject.
It employs all the kinds of dramatic Action (see § 410). It is without
the peculiar performance of the Manager (see § 281), the Benediction
(§ 282) and Propitiation (§ 286 a.) being performed behind the scene*

Commentary.

a. For example the Bali-vadha. Now of the Rasaka : —

• ^EXT.

Tho Rasaka do- No. 548. The Rasaka has five principal cha-
scribod. racters and contains the Junctures Mukha and

Nirvahana. It employs a variety of languages and dialects,* and the
Actions Bharati and Kais'ikf. It is in one act, without the Manager’s
performance (§ 281), containing the Members of the Yithi (§ 521)
and musical performances. It has a Benediction (§ 282) with a double
entendre , and a foolish man and ;u)tcd woman for its hero and
heroine. Its representations must he more and more dignified as
it progresses. Some admit into it also the J uneture Pratimukha.

Commentary.

a. The Menakuhita is a specimen of it. Now of the Sanlapaka*

Text.

The Sanlapaka de- No. 519. In the Sanlapaka there may be three
^scribed. or f 0lir ac t s> the hero being a heretic, and the

flavours other than the Erotic and the Pathetic. Blockade of a city,
treachery, combat, and confusion are represented. Neither the Action
Bharati nor Kais'iki is employed.

Commentary.

a. For example the Mayakapalika. Now of the S ngadita.

# In the original— WTT and the former, according to tho commen-

tator, including under it the Sanscrit and the different forms of Prakrit proper,
the latter denoting’ those corrupt dialects of tho Prakrifc^alled

262

The Mirror of Composition.

Text.

The S'rigadita de- No. 550. The S'rigadita is held to be a species
scribed. 0 f the Minor Drama (Upartfpaka — see § 276)

consisting of one act, founded on a celebrated story, w.ith a famous
high-spirited hero and a celebrated heroine. It is wanting in the
Garbha and Vimarsha (§ 3S5 and 336). The Action Bharati is
chiefly employed, and the word S'ri (prosperity) comes frequently into
its vocabulary.

Commentary.

a. The Kndarasdtala is an example.

The S'ngadita ac Some declare the S'rigadita to be a play in

cording to another which S'ri, or Lakshini, (the Goddess of temporal
description. and spiritual prosperity) seated, sings and recites

something ; consisting of one act and employing chiefly the Action
Bharati. An example of it may be imagined. Now of the S'ilpaka.

Text.

Tho S'ilpaka do No. 551. The S'ilpaka has four acts and uses
scribed. all the f our Actions ; the Flavours are without the

Quietistic and Comic f the hero is a Brahman, and the secondary hero
a low character. A cemetery or the like forms the subject of its
representation. It comprises twenty-seven elements, which are these :
Expectation, Surmise, Doubt, Pain, Anxiety, Inference (Prasakti),
Effort, Intimation of purpose, Longing, Dissimulation, Belief or Con-
viction (Pratipatti), Voluptuousness, Indolence, Perverseness, Rapture,
Indecency, Folly, Seeking of means (sddhananugama), Relaxation,
Surprise, Obtainment (prapti), Gain (labha), Forgetfulness, Angry
speech, Expertness, Instruction, and Astonishment. These arc not*
defined because of their clearness.

Commentary.

a. The Sampheta and Grathana, spoken of before (§ 421 and 391),
have been already defined.

J. The Kanakavati Mddhava is a specimen. Now of the Vilasika : <

Text.

No. 552. The ViLisika is defined a play i n
one act, with Love for its leading sentiment, con-
taining the ten Meters of the Ldsyg, (see § 504) and* graced by the

The Vilasika de-
scribed. 1 **.

263

The Mirror of Composition.

Buffoon (see § 77), the t humble friend’ (§ 77), and the 1 Comrade*
(§ 76).’ It is without the Junctures Garbha and Vimarsha ; it has a
low hero, a short fable, and a beautiful toilet,

Commentary.

a , Some read ‘ Lasikd’ instead of Vilasika, and others include it in
the Durmalh'. Now of the Durmallika.

Text.

The Durmallikd No. 553. The Durmallika is an entertainment
described. in four acts, with a hero of an inferior character,

employing the Actions Bharati and Kais'iki, and wanting the Juncture
Garbha. Its dramatis personae are composed of men of pleasure.
The first act, occupying throe 1 nadikas’ (§515 «.), should represent the
sports of the * humble friend’ (§ 77) ; the second, of the duration of
five nadikas, should contain the enjoyments of the 4 buffoon’ (§ 77) ;
the third, of six nddikas’ duration, those of the 4 comrade’ (§ 76) ; and
the fourth, extending over ten nadikds, should represent the sports of
the hero.

Commentary.

a. The Vindumati is an example. Now of the Prakaragikl

Mt.

The Prakaram de- No. 554. The Natika is termed Frakarani,
scribed. when it has, for example! a merchant for its hero,

and a heroine of a family similar to the hero s.

Commentary.

a- Let an example of if be searched out hj the reader for himself
Now of the Hallis'a.

Text.

The Hallis'a de- No. 555. The Hallis'a is a piece in one act,
with one male, and seven, eight, or ten female
characters ; the language being elevated, the Kais'iki its chief Action,
the Muklia and Nirvahaga its Junctures. It uses music and song in
abundance.

Commentary.

a ' The Keli Kaivataka is an example. Now the Bhanika.

264

The Mirror of Composition.

Text.

The Bhanik£ de- No. 656. The BMnikd is a play in one act,
scribed. in w hi c li the actors dress themselves beautifully,

containing the Mukha and Nirvaliana (§ 333 and 337) and the Actions
Bharat! and Kais'ik!, with a heroine of high family and a vulgar hero.
The following are its seven elements : Upanyasa, Vinyasa, Vibodha,
Saddliwasa, Samarpana, Nivritti, and Sanhdra. Upanyasa is a casual
declaration of the end. An utterance of self-disparaging words is
called Vinyasa. Vibodha is the removal of error, .and Saddhwasa is a
false statement, Reproachful words uttered under the agitation of
grief are termed Samarpana. A mentioning of an example is Called
Nivritti. The accomplishment of the object is styled SanhaiTU

Commentary.

a. Examples of these are evident in the dramatic xoorks . — The
Kamadatta is a specimen of this species of drama.

b. The peculiarities apoken of as belonging to the Nataka may
be admitted, only if proper and possible, into these other kinds begin -
ning with the Prakarana , though generically they all are of the
nature of the Ndtaka. But such elements, mentioned in the Nataka,
as have been repeated in the several descriptions of them are, as a rule,
to be introduced into them.

c . Now of Audible Poetry (see*§ 272.)

Text.

4 . No. 557. Audible Poetry, or Poetry that is

Audible Poetry, ; , .

twofold, viz. (1) Me- merely to be heard, is twofold, being (1) Metn-

trical, or (2 )in 1 rose. ca j ^ )a( ]y a ) ? or (2) in Jprose (gadya.)

Commentary".

o. Of these, he speaks of Poems in Metre.

Text.

Metrical Poetry, No. 558. Metrical Poetry is that in which
defined. the words are regulated by metre, generally mak-

ing up four lines which constitute what is termed a * padya ’ (stanza)-
A piece of Poetry , complete in a single stanza, is called Mulct aka
( Pree^ or independent as to the completion of its sense, on the suc-
ceeding stanza) . ‘ Complete in a couple of stanzas, it is termed

The Mirror of Composition . 265

Yugmaka (couplet) j in three stanzas, Sand&nitaka (triplet ) ; in four,
kaldpaka ; and in five, Kulaka.

Commentary.

€h. Of these, the Muktaka is exemplified in the following verses
of mine:

<( Him of Perfect Bliss, Infinite, Immutable, and Unborn, whom
devotees, absorbed in meditation, unceasingly adore in order to behold
him in beatific vision even for a moment — blessed were those young
women of Mathura who would sportively draw away that Supreme
Brahma, talk to him a hundred ways, embrace him, and kiss him !”

b? A Yugmaka, as these verses of mine :

“ « \Jhy dost thou, love, thus recline thy cheek on thy hand— anger,
in extreme, is not proper towards a lover yielding in affection’ — thus
as I would speak to the deer-eyed one, the sweet hum of the honey-
maker rose on the mango tree.”

Similarly the others.

Text.

Tho MahSMvya or N °' 559 ’ The Gr “ at Poem (MaMMvya) is a
Great Poem, describ- poetical composition in a number of cantos; The
u *' hero thereof should be a deity, ora Kshattriya of

noble family, characterized by firmness and generosity of heart.
Or a number of kings belonging^to the same noble family 0 may be
its heroes. Of the Erotic, Herojc, and Quiefcistie any one flavour
should be the principal in it, all the other flavours being ancillary
the^to. It should contain all the dramatic Junctures (§ 332). The
story, pertaining to some virtuous character or characters, must be
derived from history such as the Ma]idbhdrata y or from any other
source. It has for its fruits (i. e , the final objects obtained by the
hero or the like) all tho four of the class consisting of the great
objects of human desire > viz. Merit , Wealth , JEnjoynient and
Liberation , or it has only one of them. It begins with a salu-
tation to a deity or a benediction, or simply with the mention of
a matter* leading into the main story of the poem . Sometimes it

* In tho original, which I have translated in accordance with tho

common acceptation of the term as MaUinatha has explained the expres.
S10n In tho beginning of his comuioutary on tho Kumara Sambhava. The
commentator of the present wor*, however, explains the term to mean the lead-
ing personage of tho poem. Promacliandra Tarkavagis'a adopts this interpreta-
tion, but includes under the term also one related to tho hero. (See Kavyadars'a*
P' Ifl Bib. I«d.)

266 The Mirror of Composition.

begins with a reproach of the malicious or the like, and an eulogium
of the good. It consists of cantos, more than eight in number, neither
too short nor too long, each canto comprising stanzas composed in
some particular metre, but ending in those of a different one. Sometimes,
however, we find a canto composed in a variety of metres. At the
end of each canto should be hinted the subject of the succeeding*
canto. The sun and moon, day and night, morning and evening,
noon, twilight, and darkness, ocean and mountain, woods, and hunting,
the seasons, the enjoyment and separation of lovers , saints, heaven 1
city, sacrifice, military march, counsel, # marriage, birth of a son, &c . :
these are to be described in it, according to occasion, together •with
their attendant incidents and circumstances.* It is to be^named
after the poet, the story, the hero or the like, whilst the designation
of a canto is to be after the principal matter contained therein.

COMMENTARY.

а. The Members of the Junctures (§ 838—405) are to be admitted
into it as occasion may require.

б. ‘ Ending in those of a different one’ (see Text) — here the
plurality implied in t those ’ is not necessarily intended.

c. * Together with their pendant incidents and circumstances’—
implying, for instance, sporting in water, carousal and the like, which
must beaescribed in connection with evening and night .

Specimens of the <*• The Raghuvans'a, the S'is'upalavadba, the
Great Poem. Naishadha and others are specimens of the Great

Poem . Or my own llaghava-\ilasa and other poems might be
instanced.

Text.

A Great* Poem by No. 560. The cantos of this again, when
a saint. composed by a saint ( rishi ), are designated

Akhy&na (Narration).

Commentary.

a . 1 Of this’ — i. e. of the Great Poem. — The Mahabharata is an
example of a Great Poem composed by a saint .

Text.

A Prakrit Qreat No. 561. The cantos belonging to that com-
^ oem v posed in any of the Prdkjit dialects are named

Lit. Together with their members and by-members.

The Mirror of Composition.

26 T

AlswIsa. This (a Prakrit Great Poem) is generally composed in the ,
metre called Askandaka, and sometimes also in those named Gali takas.

COMMENTARY.

a . THe Setubandha (Bridging of the Sea) or my own KuvalaySs'wa-
charita (Actions of Knvalayas'wa) is an example.

Text.

A Great Poem in No 562> Th ° CantoS belon S in 8 to a Great
a corrupt dialect Poem written in any of the corrupt dialects
(Apabkrans'a.) (Apabhrans'a) are styled Kadavakas. A. variety,

of metres befitting the corrupt dialects are employed in it .

* Commentary.

a . ^The Karna-pai*akrama, or the Valour of Karna, is an instance.

Text.

The Kavya, or Poem
simply so called, de-
scribed.

No. 563. The Kavya, or Minor Toem y is one
in which, as a rule, the pure and corrupt forms
of Prakrit as well as the Sanskrit are to be

employed, which is without the division into cantos, consisting of
stanzas tending to one object, and not comprising a totality of
Junctures (§ 338—405).

Commeni^y.

a . For instance, the Bhikslnitana dr the ArydvihJsa.

Text.

ThcKhanda Kavya No. 5Gk„ The Khar, da Kavya, or Partial
described. Poem, is a composition partially* resembling the

Kavya.

Commentary.

a. The Meghaduta of Kalidasa and the like are examples.

Text.

The Kosha de- No. 565. The Kesha, or Poetical Treasury,
scribed. j a a collection of independent stanzas arranged in

the order of classification j and this is indeed extremely charming.

Commentary.

a. « Classification* (vrajya) is the putting together of things of the
same species.^

b. The Muktavait and the like are specimens of the Kosha;

. t ■ « . .

* Hence, saystW Commentator, it comprises Sanskrit verses only, unlike
the Kavya, whiol^ admits the, various forms of Prakrit along With banskrit.

2 m 2.

268 ,

The Mirror of Composition .

c. Now we have to speak of i Poems in Prose/ and therefore , as
being essentially connected therewith, we shall first define Prose and
its varieties.

Text.

Prose and its four No. 566. Prose (Gadya) is speech not re-
varieties defined, gulated by metre, and this is fourfold, viz. the
Muktaka, the Vrittagandhi, the Utkalikapraya and the Churnaka.
The first of these kinds is devoid of compounds, the second contains
portiondpof metre, the third abounds in long compounds, and the
fourth is characterized by short compounds.

Commentary.

The Muktaka. a . The Muktaka, or Free Prose ; as —

(Grave of speech and wide of breast, <fcc.)

The Vrittagandhi. b. The Vrittagandhi, or Prose smelling of
Metre, is instanced in this line of mine —

(0 thou, whose foeman’s city is startled by the twang of the
string of thy bow, as it is drawn into the form of a ring by those rods
— thy brawny bands, eager for war.)

Here, is a complete line of the Anushtubh metre,

and is another line of the same metre, without its first two

syllables.

The Utkalikapraya. c. The Utkalikapraya is illustrated in the
following line also of mine : —

(0 thou the fighting forces of whose enemy, powerful as they are,
are torn by the multitude of thy excessively sharp arrows, flying
incessantly.)

The Churnaka. d. The Churnaka, as this line of mine —

(0 ocean of the

gems of excellence, gallant unique in the world, 0 charmer of the
fair ones and gladdener of the people.)

Text.

The Kathd do- No. 567. In the Katha (Tale), which is one
scribed. qJ' f} ie species of poetical 4 opposition in prose )

a poetical nriiatter is represented in verse, and, sometimes, the Ary i
and, sometimes, the* VaWa and Apavaktraka are the metres employed

The Mirror of Composition . 269

Jin it. It begins with stanzas in salutation to some divinity, as also
descriptive of the behaviour of bad men and others.

Commentary.

a. The Kadambari of Fdna Bhatta is an example.

Text.

Tho Akhyayik* No. 568. The Akhyayika (Narrative) resem-
descubed. bios the Katha, but it has these c^j^inctive

peculiarities. The genealogy, &o. of the poet of the composition and,
sometimes, an account of other poets also are given. The divisions
of the story are distinguished by the name of AVwAsa. The matter
to be related in an AsVasa should be hinted in its beginning, in any
of the metres A'ryd, Vaktra and Apavaktraka, under*the artifice of
describing something else.

Commentary.

a. The Harsha-charita and others are instances.

b. Some assert that the story of the Akhya-
yika must, as a rule, be related by the hero, —
which is not right, as is evident from the decla-
ration of Dandin, the A'ch$rya (Great Doctor),
viz. We find that there is no rule as to this (i. e. the relation of
the story by the hero), for other personages also than the hero do
relate it in the Alchydyikd

thor divisions of c. The Akhyana (N arration) and other divi-

The opinion of
sorno that the story
of tho A'khyayika is
to bo related by tho
hero — refuted.

nmIofthTKltl.fi and siom °f Poetry in Prose, being included under
Akhyayika. the Katha and A'khyayikd, have not been separ-

ately spoken of ; as has been said by the same author , Dandin—
“ Under these will be included the remaining descriptions of Narra-
tive.” .The Panchatantra and others are examples of these latter
hinds,

d. Now of * Poems in prose and verse.*

The Champi de-
fined. ' - x '• •

Text.

No. 569 A Poem composed in prose and
Urse is designated Champu.

Commentary.

For example, the Des'ardja-charita or Adventures of Des'araja;

270* The Mirror of Cbmposttim*

Text.

lie Viruda do- No. 57(h A eulogium of a king,, in prose and
scribed. Terse, is styled Viruda.

Commentary.

a . For example, the Virudamanimala,. or Gem-garland of Royal
Praise.

Te^t.

The^ambhaka. No. 571, A Champu composed in a variety
of dialects is called the Karambhaka.

Commentary.

a . Such is my Pras-asti-ratndvali, composed in sixteen dialects.

h . Other |^ch divisions of the Champu , known merely by name
and not falling beyond the said distinctions, have not been specified.

So much for the sixth chapter of the Mirror of Composition —
entitled the 4 Declaration of Poetry to be seen and Poetijy to be heard'

CHAPTER VII.

The Declaration of Blemishes.

It was ellbwn in the beginning of, this treatise how in Poetry reside
Faults, Excellences, Style and Ornaments. Now the question arising
— What are they ? he declares the nature of Faults, as comingTirst
in the order of mention.

Text.

Faults defined. No. 572. Faults are depresses of Flavour.

Commentary.

a . The sense of this has been already cleared (see §4 a.)

b. He states their divisions.

Text.

And divided. No. 573. They are held to be fivefold, inas-

much as they occur in (1) a word (pada), (2) a part of a word
(padans'$), (3) a sentence or phrase, (4) the seiKb, and (5) the Flavour.

Commentary.

. Of .those—**

The Mirror of Composition.

271

Text.

faults of a^word, No. 574s. Unmelodiousness, the threefold Tn-

a^entence T^phrase ^ ecenc y> Improper Signification, Unemployedness,
— speoified. Vulgarism, Unintelligibility, Ambiguity, a Mean-

ing to be guessed out, Obsoleteness or a Sense overpowered by another,
Inexpressiveness, Obscurity, Repugnant Suggestion, and Non-discri-
mination of the Predicate, the Ajwdotic or the Emphatic (vidheya)*
belong to words and sentences, some of them occurring in a^pu’t of a
Faults exclusively word also. And Unmeaningness, Powerlessness
of word. and Solecism occur only in a word.

Commentary.

Unmelodiousness. a. Unmelodiousness, as a Jfyult of a word
or phrase y is its painfulness to the ear arising from harsh syllables \
as —

(0 when may that slender-bodied lady, subjugated by Cupid, have
her desires fulfilled !) •

The threefold In- INDECENCY is threefold, as being sugges ■

decency. ^ tive 0 f Q) shame, (2) disgust and^B) inauspici-
ousness. These three forms are, in their order, exemplified as
follows;—*

“ Great are thy resources (sadhana), 0 Monarch, in vanquishing
the proud enemy.”

STOWTT fi Mm I

“ The wind then flowed languidly, 0 slender one, at thy loss.”

Here, the words sadhana , vdyu (wind) and vims a (loss by separa-
tion or death) are respective instances of the three sorts of Indecency.

* It is necessary- to remark here that the Sanskrit word is not

restricted to the sense of * predicate,’ but is used also in the signification of a
word that gratifies the expectation raised by a previous word, as also in the
sense of one on wftidh actress is laid. In the absence of any English word con-
veying the second sense, I have been obliged to coin the adjeotive apodotic from
Apodosis, which in'JSh^k Rhetoric means the completive part of a sentence,
which gratifies thoeexpectation raised by the Protasis, or the introductory part.

272 The Mirror of Composition .

Improper Signifi- <?• “ Heroes attain to the state of immortals

cation. # — as animals killed in the sacrifice of war.”

Here the word 4 animals’ conveys the improper notion of wretched-
ness with reference to the heroes ;• so it has the fault of Improper
Signification.*

UnemployednesF, d . Vnemployedness is when a word is used in

a form, which, though admitted as correct, is not approved by the
poets ; “ There shines the lotus (W) in the pond.” Here the

word tro is used in the masculine gender, which is against the
practise of the poets, though the word is well known as loth masculine
and neyteri

Vulgarism. e. Vulgarism is instanced in — 4 Thy buttock

(kati) ravishes my heart/ where the word kafi is vulgar.

Uninfcelligibility. f Unintelligibility is when an expression
is used in a sense which is not recognized in Poetry, but only in some
particular department of learning. As, — 4 With his deserts (as'aya)
destroyed by divine meditation. ’ Here the word ds'aya is employed
in the sense of 4 desert 3 which it has only in the Yoga Plii^sophy.f
Ambiguity. g> “ Admit, in flour ear the series of his bene-

dictions (as'ih-parampara) and have mercy on the prisoner (vandyam).”

Here the# word 4 vandyam 3 is Ambigious, since it is doubtful
whether it is the Locative of Yandi and means 4 on the prisoner 3 or
the Accusative of 4 vandya and an epithet of 1 as ih-paramparaf signi-
fying laudable. 3

A Meaning to be h. ‘ A Meaning TO BE GUESSED OUT 3 is the
guessed out. fault 0 f an expression employed, from the poet’s

inability to find a better one, to convey an Indicated sense which it
cannot properly do because of the absence of Notoriety or a Motive
necessary to Indication (see chapter IT. § 13). As — 4 Thy face,
© fair-faced one, has kicked the lotus. 3 Here by 1 kicked 3 is indicated
4 vanquished 3 or 4 excelled, 3 the term, therefore, is faulty, inasmuch
as it is neither (l) notorious, or established by Usage, as indicative
of such a sense, nor (2) is there any Motive for such an Indication.

* Simple as this sentence is in the original, Prof. Goldstiicker understands it
in a sense the very reverse of what is really meant, and thus confounds the
present fawt with Unintelligibility or Technicality (§ /.) See the word

in lbe enlarged edition of Wilson’s Sanskrit Dictionary,
t jpr. Ballantyne’s Aphorisms of the Yoga, I. § 24 , a.

The Mirror of Composition*

273

Obsoleteness. i. Obsoleteness is the employment of a word

with two senses in the obsolete meaning. For example—

“ The waters (s'ambara) of Yamuna overspread the sky.”

Here the word * s'ambara,* generally known to mean the demon
so called , is used in the obsolete sense of * water.*

Inexpressiveness. j • i He gives (a^tte) ear to songs : the verb

* d4* with the prefix d f used here in tho sense of * giving,’ is Inexpres-
sive of that sense, as it signifies 4 to take . 1 Or for example-^

“ Night, though covered with darkness, is day (dina) to me when
thou hast come.*

Here, the word 4 dina* is inexpressive of the sense of 4 luminous* in
which it is used.

Obscurity. /fc. Obsouritv is the circumstance of the

meaning's being far-fetched, as is exemplified in this line —

44 The native regions of the dwelling of her ivho was born of the
milky ocean are lucid.**

She who was born of the milky ocean is Lakshmi, her dwelling is
the lotus a^d its nature regions are the waters.

1 . Repugnant Suggestion is instanced thus : —

Eopugnant

gostiou.

Sng-

“ May tlie lord of Bhav&nf (etymologically, the wife of Bhava or
S iva) be for our prosperity !’’

Here the word ‘ Bhavams'a’ (lord of Bhavani), bringing in, as it
does, the notion of another lord of BhavanT, conveys a repugnant
suggestion.

Non-disoriminatiorf *• Non-discrimination of the Predicate
of tho Predicate. ( s exemplified in the following : —

44 Or what from these arms that in vain swelled (rtnjw) with
the pride of carrying off the spoils of the poor villages of heaven’*

(§ 2,/) . f •

Here, 4 vanity* is intended to be predicated of the 4 arms,’ hut
losing its prominence in the compound epithet applied to the subject ,
it looks as if it were meant only to be collaterally attributed.

Non-discrimination «• Or, to exemplify “ Non-discrimination or
of the Emphatic. ■ THE Emphatic” which , in the original , is included
under the same flame (§ 574 ) : —

“Are even demons able to stand before me — Kama’s brother
(TWW**)” ■

2 Jf

274

The Mirror of Composition „

Here instead of using the compound word TTTrrasra we should
say separately fir the genitive termination ^ (which is

lost in the compound) is particularly significant here , as marking
distinctly the relationship of the speaker (Lakshnana) to Mama.

Tho same. o. Or the same fault may be illustrated by

this line from the first can# of the Raghuvans'a — “ Of the lords of
the earth to the ocean’s verge Here the poet

should Imve said and thus given a separate , and

thereby a prominent and emphatic expression to the circumstance
implied in for it is this circumstance that , as heightening

our idea of the extension of the rule of the kings . the poet wishes
particularly to direct our attention to.

The same. p. Or, for example

“ Wherever falls thy glance, fair-browed lady, like a sixth arrow
T*0 of Him of the five arrows (Kama) — .”

Here a stress being evidently laid upon NST (sixth), it should not be
compounded with (arrow), but the poetical fancy of the maidens
glanccbeing a sixth arrow should be expressed blithe words separated ,
thus — W T*

The same. Or, to exemplify the same fault in a

negation —

“ My lord, she was unquitted by you, even for a moment,

before.”

Here the denial in VjflfT bearing, as it does, the character of an
Express, or Pominent Negation, ought to he directly or emphatically
expressed. As it has been said —

An Express Nega- “ W * ieu the affirmation is not principal, hut
tion what. the denial i s SOj the latter is termed an Express

Negation (TOWfsrfww), in the case of which the negative associates
with i. e. qualifies the verb e. g.

“ It is a new cloud risen ready, not a proud demon,”*

In the former example, the denial has not the appearance of an
emphatic negation, being reduced to an unprominent condition in the
Tatpurusha compound WijffiT, and hence faring like what is called
a Privatiojq. To this effect it has been said —

* W not (non-proud-dumoii)* which, like

in the farmer example, would be improper.

275

HThe Mirror of Composition,

A Privation what. “ When the affirmation is chiefly intended and
not the denial, it is to be recognized as that case of denial which is
termed Privation where the negative is compounded with

another word. 1 * Hence —

“ Undaunted he protected himself, undiseased* he cultivated virtue,
ungreedy he exacted tribute, and*unaddioted he enjoyed pleasure.”

Here, since it is the protecting of self &c. that are meant to be
predicated of the king, having collaterally attributed to him the
qualities of undauntedness <fcc., the reduction of the negative £o one of
Privation is proper.

An objection to the r ' But */ *» oh J ector sll0uM tlie

above illustration of expression tqwW would imply an Express Nega-
the fault repolled. ^ ^ phra8es

(a Brahman not-eafcing at a funeral ceremony), KTSJ^TXTIS

(a princess not seeing even the sun) &c. We would reply— No, for
even in these cases then only would we acknowledge an instance
of Express Negation, if ( -to take the former example—) the
negative applied to that portion of the meaning of s' rdddha-bhoji
(eating or eater at a ^funeral anniversary) which consists in the act
— ‘ eating/ but this is not the case, inasmuch as the negative relates
to the portion agent, viz. the eater, since it is this which is the quali-
fied, and therefore the most prominent part of the expression. To
this effect it has been said : < — Since the agent the eater at funeral
anniversaries, and not simply the act of eatiQg’is thought ot, because
of the employment of ‘ ini/ a suffix of agency.” In i amukta, however,
the relation of the negative beiug to the act, there is of course a fault.

s. These faults, Obscurity, &c. are blemishes of a word, only in
composition. ■

Un melodiousness *• Unmclodiousness in a sentence ; as,

in a Sentence. <T3T. (Blind, at thy,

separation, with the torments of love, O when shall I have my wishes
fulfilled !) *

Indecency in a a* u, “ The poet who takes to another’s senti v ’
Sentence. ment eats vomit.”

Here we have Indecency suggestive of Disgust exemplified in a
sentence .

* Unlike the great majority of mankind who think of religion, only when
distressed.

2 s 2

276

The Mirror of Composition

Obscurity in a Sen
tence.

, A “ Meaning to be v. “ Their bodies were adorned by the fair ones
iontencG.° Ufc 1U * (vakra) with orient rubies (kamala-lauliitya) ”

IJere, ‘ kamala-lauhitya’ and 4 vakrd’ are guessed, by the sameness
of the etymological sense in the one case and that of the primary
meaning in the other , to indicate the words 4 padmaraga’ and * v6md,’
which latter words respectively sifnify a ruby and a woman . The
sentence , therefore , has the fault of a “ Meaning to be guessed out”

w . Ttfamw if wm ira f rroww i

(Whose heart is not completely warmed to see the beauty ofi the
locks of lier with eyes like the youtog deer’s — locks bound up with an
unprecedented art ?)

The construction of the line is Obscure, the connection being this

— sfaww it rot ^ *r T'sqftr.

‘ Nondiscrimination *• The f ault °f ‘Nondiscrimination of the
of the Predicate* in a Predicate ’ in a sentence is exemplified in —

&c. (For, this indeed is an utter contempt
of me Ac. — see § 2. /.) Here (contempt) is meant to be the

predicate, and should , therefore, be placed after the subject, thus —
but from the reversed order of the sentence, the word’s
character, as a predicate, is rendered less clear. The fault is that of a
sentence or phrase, inasmuch as it arises from the reversed collocation
of two words.

€XT .... y. ‘ Nondiscrimination of the Apodotic’ in a
4 Nondiscrimination ^ ^ ^ ^ * r %

of the Apodotic’ in a sentence \ as — •T^f (who) S*JT (he)
Sentence, ^ ^rnTH<T: ( The on? who cheers thy eyes, 0

thou of fair brows, — he has arrived.) In expressions such as this,
according to the rule that there is an invariable correlation between
the relative (who or which) and the personal pronoun (he or it),

the pronominal words usedin fhe sar fie sense with the

pronoun in order to the fulfilment of the expectation raised by the
relative must, properly, belong to the Apodosis. But here the
The Personal pro- Personal pronoun, being placed immediately after
noun, immediately the Relative, appears as if it belonged to the

The word ** ftl30 > immediatel y f ° 1 '

sizes the latter. .lowing the word TT^-, merely implies that the
person or thing which it qualifies or points to, is well known ; c. g- 7

ffhe Mirror of Composition.

277

v ** ^ s *rtnw:

(That person who is the joy of thy eyes — he has come.)

a. These words (T^? 0 H^), however, not immediately

following the Belative do gratify our expectation ; as,

^ inWTT S^T ^*rnra: (He who cheers thy eyes has
now arrived).

So also in the case of the employment of Ac., — the me of^^t

( — ivhich makes in the nominative singular — ■) being exemplified

here .

aa . Where, of the Relative and Personal pronouns — ^ and
& c., one may be understood, there the expectation is fulfilled, though
one only, i. e. either the relative or personal pronoun, be used : hence
in such a case there is no fault.

When the Personal hk Thus > tho relative ^ bein g uscd in tbe
pronoun may be un- latter clause, the personal pronoun may, from

du stood. the context, be understood in the former ; as,

STTWlfa ^tTTtf.— <f The soul knows (that) which is a sin.”f So also

in such instances as the following —

v wtfos •wTSErfiiTtnf^: t

(Whom all the mountains made the calf, when, by Prithu’s com-
mand, they milked radiant gems and herbs out of Earth bearing the
form of a cow — while Meru, dexterous in milking, acted as the
milker.)

When the Relative C0 ‘ When tho term ^ refer8 to one that
pronoun may be un- is th* subject of discourse, or (2) well known,

*'° or (3) known by one’s self, then the term ^ is

understood. For examples in their order : —

“ Having slain the brave Balin, he (^:) placed Sugriva on the throne
so long wished for by bim^the latter), as the Grammarian substitutes
a distinct syllable (—technically called ddes'a-— ) in the room of a
radical,”

“ May Hb (m) -with a lunar digit on his head help you to Divine
Identity, or the union of your soul uffyh Kim F

J This form of expression cannot be translated into English.

T Or, for instance i * But ho who found not whom his soffi desired, Ac/-*
Pope's lUad. ‘ •

t Kumdra-sambhava, I. 2 .

278

The Mirror of Composition.

“ Heb (?rf) of the moon-onchanting face I meditate in my heart.”
Tho Personal pro- dd. But where the personal pronouns

foTont gond n er°or c.io‘ ’ t,i0U S h standin & close to the relativo ^ («»
may immediately fol* § y.) } have a different (1) gender or (2) ca*e
low tho Relative. f om that of the latter , there also is the sense com-
plete. For examples in their order : —

CTinraft ^tt i

sj A N

(The lady who shines — she, with eyes like those of the young deer,
is an ornament of the world.)

firnfa qfa^Tftrr: i -

(This moon that shines— by him have the separated wives of travel-
lers been burnt.)

Tho personal and
relativo pronouns
may, sometimes, bo
both understood.

ee . Sometimes even, both of these (viz. the
relative and the personal pronoun), when not
expressed, are understood from the context of

the sentence. As —

<f 4 Alas ! there is none to relieve my burden’ — lament not thus,
O Earth : there is, in the house of Nanda, a boy of marvellous
prowess.”

Here is understood — 4 iie who is such will relieve thy burden.’

JT- V% 3 «Trf I

(The pangs of separation that I feel, alas, who will remove them !)
It is not to be asserted that one of the relatives, in this example,
leaves the sense incomplete,* since, by the repetition of the thing
(viz. pain,) is indicated in all its forms, whichever tJiey be, and tho
personal pronoun (it) refers to it as of such a character.

gg. So may the illustration of the other faults (§ 574), as belong-
ing to a sentence, be understood by the reader .

U nmclodiousness in Unmclodiousness in a PABT OF A WORD (§

a part oj uiwrd. 574) is exemplified in tlu^iarsh combination of

three consonants , viz. iff (ddhyai), the inflected portion of the word fall
in — ^THrai'.f (Go, act in behalf of the gods and
prosper !)

Obsoleteness in a Obsoleteness in a part of a word; as

part of a word . qTrpTrr fafc ^fi. (The mountain bears the nature

of being metal&ie.)

* Lit. is expectant. \
f Kumara fcSainbhava, IIlNlS

270

The Mirror of Composition ,

Here the part UTtt of VTcJUViT has its sense overpowered by the .
more common meaning of t intoxicated’ which sense it bears as the
feminine of

Inexpressiveness in jj- “ How can Mahdsena (the War-^od), by
apart of a word . whom was conquered (fa^sp) the demon Taraka,
be described ?”

Here, in the word fWN, the suffix (a sign of the future passive
participle ), is inexpressive of the sense in which it is used, viz. that
of the suffix Hi (of the past participle).

Indecency in a part klc, ®T* (Hand soft like the

of a iford. tender leaf.)

Here the first two syllables of the word are indecent, as they
form a Sanskrit word of an indecent import .

« A meaning to be \\ t “ Heroes, slain in battle, attained to the

guessed out 1 in a pari . . „ , . ■>. ..

of a word. state of a god

Here the word (word) is to be guessed out as signifying the
synonymous word ifit: and thus , in composition with suggesting
th&term jffapy (a god). So the fault might be exhibited by substi-
tuting the synonymous word HX (arrow) for in the same word
so that neither of the component words in JTfaivr would bear
being exchanged for a synonymous word. In such compounds, how-
ever, as (sea), the latter word (fa) only, and in such as
(submarine fire), the former only are not exchangeable.

mm. Similarly may other faults, possibly occurring in a part of a
word, he understood by the reader for himself

Unmeaniti guess. mi. And the three faults commencing with

Unmeaningnessf may occur in our subject (/. e. Poetry), only as resid-
ing in a word ; as — W fa wfafa (Proud one, do quit thy pride).

Here the word fa is an unmeaning expletive used for the purpose
of merely filling up thdfcietre.

* The proper reading seems to be as tho printed gdvya-iwalcds’a

has, instead of Boor’s SdhiUja-darpana and my own MS., however^

have the latter reading. *

It is necessary to remark here that tho fault denoted by is not

exactly represented by tho term ^obsoleteness 7 (see § rr.) literally

^eans ‘ the state of having a sense overpowered or borne down by another more
common meaning,*

t See text 574.

230

The Mirror of Composition .

Powerlessness. oo. (To the grove resorts

the slender- waisted lady). Here though read in Root -books in
the sense of going, is powerless in that meaning .

Solcci^, pp t u He of the Gandiva bow (Arjuna) struck

0*nsfif) with his hands the breast of the Uneven-eyed* God (S'iva),
shining like a golden slab.”

Now on the authority of the rule — “ Of the verbs and ^*7 with
the prefix there is to be the A'tmanepada termination, when one’s
own body is the object governed by them” (Panini, I. 3, 28) — the
A'tmanepada termination is directed of with the . prefix ^T, only
when the body of the agent is the object. This rule is transgressed
here in the me of the word lienee it has the fault of Solecism,

An objection to the aa 1)cin S without its grammatical characteristic,
above fault belonging “ But then,” an objector would say, “ since the
to a word— confuted. WQr< j j s no t [ n itself faulty, but in relation

to other words (viz. i the breast of the Uneven-eyed god ’), the fault
is that of a sentence, not a word.” I answer — Say not so : for the
reason, or condition , of an excellence, a fault and an ornament being
held as belonging, for instance , to a word or meaning is the circum-
stance of the fault, &c., appearing and disappearing with the word or
meaning. Now here in the above example , the fault appears and dis-
appears simply with the word ‘Snsrlf — for it remains as it is, even on
the alteration of the other words, hence it is no other than a fault of
a word. Likewise, since the fault disappears as well on the change of
the root as that of the Atmanepada inllection, it is not a fault of
a part of a word.

Similarly in TO? (see § 574, d.), Unemployedness is to be recog-
nized as a fault of a word, not apart of a word ,

qq. As in Sanskrit so in Prakrit or other dialects is the fault of
Solecism to be understood, when words want peculiarities assigned
to them by the respective Grammars.

Powerlessness, &o. rr. Powerlessness spoken of m

distinguished. tlie text as a fault of a word, is wherwa vocable

is used in a sense never applied to it ; and Obsoleteness 18

when it is employed in a rare meaning. * Obsoleteness can occur only

fc ^ • •

' * I. e. . With fen odd number of eyes, or three-eyed.

f The author ' of the Kavya-prakdsd owns that “ the Unemployed, &o-
Ojnly certain varieties of the Powerless” though he has treated of them disUu
tivefy in pursuance of general custom. Calcutta edition } %>. 82.

Mirror of Composition, 281

in words Searing more than, one signification. U nintelligibility
(^snftfTW) may occur even in a word having but one sense, but not?
of universal application. Words conveying one meaning are the sub*
ject of Unemployedness and those bearing mor^an <me

sense, of Powerlessness Under PowerlessnesIKme such

blemishes as the use of in the sense of going, which we do find iif
the Dictionary ; but under Inexpressiveness we have such faults as ftp*
employed in the sense of * luminous/ which is not given in the Diction-
ary. Such is the difference between them.

ss. Thus have the faults of a sentence, homogeneous to those of a
wort, been declared. Those of a different class are now stated.

Text.

Faults peculiarly No. 575. Repugnance or Incongruity of Let-
of a sentence or ters ; Rejection, and Blunting, of the « Visarga ;’
phrase specified. Redundancy, Deficiency, and Repetition, of a

word; Lameness of Metre; Excellence falling off; Disjunction,
Indecency, and Harshness, of ‘ Sandhi ;’ Isolation of a word iij a
distinct half; Resumption of the concluded ; Failure of an intended
connection ; Syntactic Irregularity ; an Unacceptable second sense ;
Omission of what must be said ; Violation of Uniformity or Incongruity
of Expression ; Disregard of Usage ; Misplacement <of a word ; a
Compound (WWU) %>ut of place ; Confusedness ; the use of a Paren-
thesis : these are faults residing only in a sentence or phrase.

Comment aby.

Repugnanoeof Let- a - Repugnance of Letters is their incon-

ters * sonance with the flavour of the piece in which

they occur , as is exemplified in these verses of mine : —

WIT WT I

ffTOT fa'mi W H*

(She turns over and rolls on the bed, towards none does she display
gestures of love* she is confounded with shame, andner constancy
keeps lifr

• This is act as. an instance of Unmelodiousness (see § 574, a.) though
the letters the distinction between it and Literal Incongruity

being this, that Jpe former is simply harshness, whilst the latter fault may
f° ns «t evej* hi feheWioothuesv of the letters, when the flavour, for instaace* is.,
the Heroic, <# ut words Xhe description is martial : Foi*j

a«

•T6e'Mirtvr of GomptkitvSh.

Hera the i’s (*) are opposed to the Erotic flavour (§608), being Med
‘merely for a display of skill in alliteration. It is, however, no fault
■when the letter occurs once, twice, thrice, or even four times, inasmuch
‘«s this dote not so much injure the flavour.

- The E motion of The Rejection or the Visarua Is exem-

the Visarga. , plified in nm fflVfT UT% (Passed are these
nights, 0 girl I) ,

' The Blunting of the c - The Blunting or the Yisaroa means its

Visarga. change into nil, as is shown in UlVT VXTffTT SJTfir

i(The gentle and excellent man goes). . ;r;

The Redundancy of d. The Redundancy of a word is exhibited
* word * in TOUTWfavwtfl (she with lips ruddy like the

iorin of the new leaf), where the word (form) is redundant,

€o in VSTfaw (I adore S'iva, the holder of the

jPinSka bow) the epithet fiprrqrirTfa* (‘ holder" &c.) is superfluous.
In such a sentence, however, as TWrsfq fqiTT^rqTW^^fifl*

(I can overthrow the fortitude even of S'iva, the holder of the Pin&ka
bow) the epithet is proper, being used to convey a particular sense, viz,
ike excessive valour of the speaker , Kama of the flowery bow, defying the
Terrible God armed with the Pindka . Or, the same fault might be
instanced in <f Kautsa spoke a speech” where the word 1 speech’ is
unnecessary, the word ‘ spoke’ being sufficient for* the sense. Some-
times, however, its use is proper, when it is for the purpose of adding
an epithet, as— f He spoke a sweet speech." But some say that there
toa its employment is out of place, where the attributive may be used
in an adverbial form, as — “ Sweetly spoke the wise one.*"

The Deficiency of e * The Deficiency of a wobd is instanced
a word. j n — « jf a gi ance h e cas t on me> w h a t need should

I have of Indra"s rank ?’" where the word cqqT (by thee) is wanting.

“ "Tig not enough no harshness gives ofFenae,

The sound must seem an echo to the sense."

Literal Incongruity when the letters are smooth is exemplified in the follow*
ing stanza, addressed by Brima to R£vaga

* Kumira Sambhava, Canto HI., stanza 10.

tf he Repetition ofa
word.

Metre harsh, though
conformable to tie
definition.

Metre inconsistent
with the Flavour*

/. The Repetition 6» A word' is shownin— .

“ The wind, sportively Mowing, breaks the languor
of amorous sporty" where the word (sport) is repeated. So-->
arc fhf (They ate the fibres, holding expanded

lotus). Here flf, instead of being repealed , should be referred to by)
a pronoun thus— Wli. *

. Lameness of Metre, 9- Lameness of Metre, or lit., Dead Metro' f
Its three kinds. Metre is lame (1) when it is harsh, though coq-
formable to its prosodial definition, 6r (-2) when it is inconsonant withe
the flavour, or (3) when a verse ends in a short syllable that is not,
according to Prosody , to be reckoned long. These are exemplified -iit
their order : —

(1) faro wwnw 9 fqiif

(Alas 1 the angry god of love constantly pierces
her heart.)

(2) ajfq wfw mf*rfw an 9 * wntw (My proud
lady 1 be not indignant against me.)

This Metre suits only the Comic Flavour.

Anomalous Metro. (3) fVtrftiWaat It 11SIIK1
^lli (The spring has arrived, delightfully fragrant with the exuber-
ance of blooming mango trees.)

Here fc, the final syllable of the first line , is short.

ft. M for the rule of Prosody thaH the final short syllable of a
ptanzaic line is reckoned long, it always respects only the second and
fourth lines, except in the metre 1 vasantatilaka’ or the like, where it
relates to the first and third lines also. In the above line, instead of
'if’CtrST tt* TOUWT tW, it would be proper to read
XfUmt as would be accented long being followed by the com.'

pound consonant V.

i. Or we may take the following example— -

j pi.iMt.tw ftfawr

it firet tflwt fw trwBfwnc

inrfkr V it

Undft which produce such gems of excellence,
other is i^ &«j»*d'eartt, other are those materials whereby thh
* *o2’

884 The Mirrorof Composition.

Oreator formed this youth, whom if his enemies or women of resplen-
dent beauty but behold, down slip from their hands or hips the weapons
or garments, agitated as they are with fear or love,}

Here t]^ composition wgnfw ^ sounds flaccid to the earl If, how-
ever, we read it would sound strong and the fault be removed.

The author of the K&vya Prak&s'a declares it to he an instance of a
verse ending in a short syllable not to be reckoned long. Others say —
“ it is properly an instance of the ‘ Harsh though conformable to the
Definition' (§ 575, g .)”

Excellence falling 3' Excellence palling off is shown in

off.

(May He of the half human and half leonine form preserve yon —
the glory of whose mighty mane is terrible like the blaze of the
flaming-fire— whose breath blew off the seven principal mountains I)
The alliterative excellence in this verse gradually falls off.
Disjunction of San- *• Disjunction oi Sandhi it exhibited in—

* yw i

(0 thon of bright form, these thy eyes are expanded blue lotuses.)
1. Such a disjunction of Sandhi, conformable to grammar, as is
illustrated here , is a fault only %hen occurring more than once. The
same, however, resorted to even once, to the violation of a Gramma-
tical role, merely for fear of violating the Metre, is a fault ; e. g.

(The moon shines on the face of India’s Quarter like a round
ornamental mark- of sandal.)

Indecency of Sandhi. m. Indecenoy op Sandhi is exemplified in

The Sandhi, here, giving rise, as it does, to the word
qm, is suggestive of disgust.

Harshness of San- »• BabbhkESS OP SaNDHI is shorn in—

•m.

is a long line of trees

(Yonder*’ ai^ie^ipd *#f this desert, there

The Mirror of C<mp6$itiok 2^l'

Hew the Sandhis between and &c. are Harsh*

Isolation of a word 0» Isolation of a word in a distinct halt

in a distinot half* ia shoum in this couplet ; —

*T: I

mm\ f* **ffr *n*r fai i

(The moon shines whitening the world with camphor-wliite rays^- '
be not unkind, 0 thou of slender form, to thy lover who is fallen at
thy feet.)

The word Wlrf, here, ought to be read in the first half of the distiM

Upsumption of the P> Resumption op the Conoluded is exhibited
Concluded.

*rnr*m mwm ftrijifiTWi i

tr?rfai vmim winsroj

(Destroying the thick darkness and scorching the separated lover s,
the beams of the moon fall — illuminating the earth.)

The fourth line in this stanza, (viz. takes up again

the sense already concluded.

Failure of an in- ?• FAILURE OP AN INTENDED CONNECTION* is
tended connection. exemplified in the following : —

* Prof, Goldstiicker speaks of this fault under three heads, viz. (a) u cofeecting
syntactically words which have no logical relation to each other,” (6) “ discon-
necting syntactically words which are logically connected,” and (c) “ erring in
the mode of connection.” The example, however, which he cites from the Kavya-
prakas'a in illustration of the first sort, doe^ot, in kind, differ, in the slightest
degree, from the instance here given, which he quotes to illustrate his second
sort. The following is the example in the K&vyap.’ak&s'a

41ms smiinrfa-

qr fr aiqra w Tq mmirntwims i

ft fmf fafmi smiiftrtf* r

—which, retaining the fault, may be rendered in English thus

“ They, the flames of whose triumphant energy drank up those stream*; Of
liquid flowing from the temphs of the divine elephants, who made the shades of
Indra'B garden the places of their mirthful carousals, whose— the night-prowlers?
■^-roarings trouhM the prince of the gods, what have they done to thy satisfac-
tion and in .ao^oripb^ wifclr the report of their prowess ?' (The printed K&yy*|

prakfa'a re^-‘ 4113 instead of — , ho doubt, by mistake.)

Now th e’SWfesk!?- does not seem to have paid sufficient attention to the sense
, J* istnangely remarks upon it that there II no

iugioa •: 'reCal^L. tie words in the relative and those in the wrrelativO

ssntenoe/^^ 1,1 ' ■■ r , - u-: J

286 The Mirror of Composition*

Wfurrapf fa*rr sw fawr * f ins^i wi I

(She who is the very glory of Cupid’s victory, who is an ornament
of the world, without whom — the fawn-ejfed — my existence is vain,
alas ! where is she now ?)

. Here, since the three clauses marked by the relative ^ (who), are
independent, or irrespective, of each other, the word wvift (fawn-eyed)
occurring in one of them cannot have a connection with the others,
though meant so by the poet. If for the second verse of the above
couplet we read —

f*T5|T CTT UT^T ^TvSt *T fWT 3 I

—■then the word falling within the clause marked by the term
(she), i. e. the correlative clause , can be i*elated to ail the foregoing
clauses marked by the term i. e. the relative clauses .

r. Or we may take another example : —

Another example. UTCTIfVf WHfVJ

(As thou lookest with the comer of thy eye, then holds Cupid his
* bow.)

Here the word (as or since) can have no correlation with the
word ^57 (then.) The proper reading would be (if thou

lookest.)

a. Or for example : —

Another example. % iwnW ITT T «Tl*J II

(The moon-light is the flood of water, the stars are the lilies, — the
moon shines as a noble swan in the lake of ether.)

Here the word ^TTOTT (lake) being reduced to a subordinate position
in the compound, the object denoted by it cannot be connected with
those meant by the other words, viz . &c., which , however , are

intended to be connected therewith , as its essential and adjuncts .

How “ Nondiscri- u In “ Nondiscrimination of the Predicate,

Scator\e/ ,th diffe^ the Apodotic or the Emphatic” (§ 574 m & n)
fcfvom the above fault, that word or phrase only is faulty which, though
it ought to be , is not, discriminated. Whilst, here, since the object
* WVQ\X’ (J#k<0, chief as, it is, is not so apprehended, all the other objects
finch as thevTOtt^! (watery flood) and the like are not understood as
subordinate thereto, and hence the whole sentence conveys an incon-
This is the difference between the two faults*

The Mirror of Composition . 28f

tt. folloioing also, . is } hy some, considered an instance of the
same fault ; —

Another example U My sword, 0 Bhrigu’s son, is ashamed iti
according to some. being resolved to cope with this battle-axe of
thine that cut off the head of thy mother.”*

Here, in reproaching Paras 'u R&ma, it is not proper to ascribe to
the axe the agency in cutting offf the head of his mother. So say
the ancients. But the moderns declare that it is this form of expres-
sion that displays wit, J for the reproach against Paras'u Rama is more
strongly felt, being reflected through the blaming of the axe.

Syntactic Irregn- v ' SYNTACTIC IRREGULARITY; as —

larity.

wim ** i

^c*t;

0 Time it is that is the cause of power and weakness among crea*
tnres’ — thus proclaiming, as it were, the cries of the swan in autumn,
attained to a charmingness that made the peacock’s voice harsh.)

Here, the particle (‘ thus’) should he used just after the sentence -
it refers to, not after

Another example. w. Similarly —

^nTJmsn&rm qnrt%*r: i §

^ 9T qJTfamfft

(Two have now mado themselves pitiable hy wishing for an associ-
ation with Him of the human skull (S iva) — that lovely digit of the
moon, and thou the moon-light to the eye of this world.)

* In this stanza, instead of Prof. Goldstiickor wrongly reads

and makes the following not very intelligible remark upon the example:—

“ — the word although intended to express the reason, (?) has no logical

-connection with the blame uttered against Paras 'u Rdma.”

t Here instead of as read in Roer’s edition, my MS*

, i N • ' 'i

has simply which the commentator indeed explains by—

L . . ' *

t Hy MS. Here leaves out the of Roer’s edition.

§ The GaleuttA edition oF the Kmnim-sambhava, to which belongs this

reads faflfaW instead of VtflfaV

second Serise.

slipuld eome immediate

)le j£ nKACWaPT4BtB SECOND

‘ Wounded m the heart by the irresistible arrow
o! that Cupid Rdma/ &c. (•§ 182, a.)

‘ •?Here -the second eense suggestive of the Erotic Flavour is not
Acceptable, being opposed to the proper Relish of the piece, viz. the
Meroic or XHsgmtjvl (see § 242.)

W. The' Omission of 9 - The Omission or what must bb said ; as—

- what must be said.

“ What particle of impropriety having seen in me, dost thou become’ 1 :
angry, my fair-eyed lady ?”

. Here ^rfqr (‘ even’) is omitted, though it must nwee^ffP^e said,
thus — * What particle even’ <fec.

Difference between *• Ia the f auU termed ‘ Deficiency of a word’

this fault and ‘ Defl- (§ e.) the deficiency meant is that of a sionifi-
ciency o a wor . cant word, whilst With, the word omitted in the
present instance, is not such : this is what makes 'the difference between
the tvro faults. So in other cases.

aa. Or (if the above-mentioned distinction be not admitted) we
may take another example : —

Another example. ?l

(Having thy lover fallen at thy feet, thou art still angry, slender
one 4 )

Here the proper expression would be (Thou hast *

thy lover fallen at thy feet.)

Violation of Uni* &&. Violation OF UNIFORMITY, on iNOONOBUirr
formity. or expression : For example-^

unfflh wfarwlf TTwep uiuwm i 4
(Thus spoken to by his chief counsellors, Rivapa replied.)

* Prof. Gokjetiioker explains o t a sentence with the present

fault,— “ Having another sense (viz. one) whioh is at variance with 0jjpt. of l)
eu^eet-mattet ,, ~ instead of swing “—with the principal ihNnihg.olrthe s«
conn ec ted with the subject.” The stanza here cited kthft2dtb <tf th# llth ot
Of thettarnvana'A, andi|he Professor is again wrong in remar
“ The erotic oharaoterof which sentence, as the KAvyawshla'*

'variance wjtt the, ” ‘ ^

tenoOpf^
Nat

sense
llth canto
it-

l’SAt
.the sen-
he erotic,
> ieere at
in

w?p*y*og ■' also ; shottld ? be

®i,ti^^l^;woEld be the proper’ reading. , $f.

^^W§6iikly |fe^|^ : .:ti©; ; ^ii^ -of ‘ilepetiticmof ^word’ (§‘^^|)p|p
theCase where s&aething is mentioned and re-mentioned is beyori&feffs
Sphere of stmh a fault, and here the peaking (or being sppkento)&h^
replying have respectively the characters of f something that is5mwS
tioned’ and ‘something that is re-mentioned, orreferentially mentionad&l
For inataqpe, ‘Bed rises the sun and red it sets’— here if the
meaning q/tred were to be expressed by another word, then
distinct word, seeming as if it conveyed a distinct sense, would oh^
struct our apprehension of the meaning of. the sentenca.
cc. ' Or for example — ’ /Kt.-/ - ’/

. W faf NTORI 'sr I

n0 ” * fonrre wfftfsTi n

(Having taken leave of Himalaya, visited again the God with the ; '
trident, and announced to him that his object had been gained, they,
dismissed by Mm, ascended the heavens.)

Here what is first spoken of by the pronoun T5&. (anjrintbe
Dativo) should’ be referred to by the ' same word or by one <>f ihjf
equivalents not by the word

dd. Or to take another example : — •

Another example. “ The earth is bounded by the ocean and this '
Lord of waters extends a hundred yojanai.^

Here it would be proper to read — Thb earth is measured by tjfe
Lord of the waters and this Lord of the waters’ &o.
ee. Similarly-^’ ; S

Another example. . ‘‘ Whether it be to acquire fame, or with a'

wish to obtain hAppiness^'Or even to transcend being pounted among
mortals— je it fir, whatever purpose — whoever resort to patient; apply
cation— Ppsgm^^es, ^s^nthr eagerness, into their laps.” • ^
Here instead '■c^^’iiith* a yrish to obtain happiness’ we (jhmddv^jfe

here-^ v^rwi^' i tmnwr

a oorreoted reading.

■2&0 The

ff. Among these example*, in the first two wehave Violation of
Uniformity* in a Radical ; in the third we have tie fault occurring
|.|irt a Synonym j and in the fourth, in an affix. Similarly of other
eases than those illustrated here.

Disregard of usage. gg. Disregard OP Usage ; as— “The dire
croaking (**) of the clouds.” The usage is to speak o! the roaring
of the clouds and this is here disregarded. To this effect has it been
said:—

“ The sound of an anklet (Wk) or the like, it is the custom to call
‘tinkling’ that of birds’ voice, ‘warbling;’ that in dalliance,

muttering or murmuring (nftpr) ; and that of cl0||o < *roar-

ing’ (Jrfs5|<T) or the like."

hh. Misplacement op a word is exemplified in — .

^Misplacement of a II

(“ As he crossed the Ganges, that flowed westward from the bridg-
ing of elephants along its ford, swans moving through the air with
waving wings became his chowries — chowrtes brought about without
the aid of art.” Raghuvans'a, XVI. 33.)

%% Here HTT should properly be read before the word which

refers to it.

Another example. ii. Similarly — “ Bad is that master who does
not hear his friends (fwfl * Kir&tarjuniya, I. 5.

Here the collocation of the negative (vp*f) should properly be imme-
diately before the verb tnjVTW-

* The Kdvya-prakds'a reckons * incongruity of order’ also under UHTW1T
•ad cites the following exomple from Bhavabhdti’STiracharita

rj^TfwwT*

*pcf?r *i^w^mnnr «

vA '• J ‘ •

The Mowing celebrated lines of Hamlet are an example of the same &ult-
*t Q f -^hat a noble mn«l is here o’erthrovni !

* The courtier's, soldier’s, scholar’s eye, tongue, sword Ao. ^ & %

f Mifflfa4tha 1 how4ver| removes the fault by interpretiag ['‘Ifflm by ***

^ .making it refer to Vindhya, spoken of in the foregoing stansa.

The Mirror of Composition, ,29f>

’ Why this i<i count. \ &' The fault instanced in thesetwoexamiples,
*cl a feult of a sea- is spoken of as a blemish of a sentence, since the
whole of the sentence is slow in conveying 1 the,
intended meaning, though only one word is inserted in a wrong place.
Similarly should it be understood of others of the faults here reckoned,
that at first sight seem to le only blemishes of a word . .

This, according to M . With respect to the just -mentioned exam-

some, pertains only .

to a word significant P ie > some m y — By the term ^ (word) in the
initse l f * compound (the designation of the

fault in question) is meant an expression significant by itself but the
negative particle (not) hns not this character, as its incapability
of conveying a sense independently of other words is undisputed ;
hence, as in the stanza beginning— ^ ?r?r (§ 575 w.) there is the
fault of Syntactic Irregularity, so also is it here.*

II. A Compound out op place : For example —

wiwf«flvfart *fh:

A Compound out ** fafflfw WT«Tf^T%fW I

of p^ 06 - §T^IW.*

* wtamw II

“ 0 fie ! Does this Pride yet wish to dwell in woman’s heart in-
accessibly fortified as it is with that mountain of her breast’ — thus
exclaiming, yon rising Moon, red with rage, stretching far his h&ndt
(or rays qrc), in a moment draws his s word— the series of bees issuing
out of the opening bud (or sheath— WT*) of J ae water-lily.”

Here, long compounds are not used in the supposed speech of the
angry Moon ( — where they would have been appropriate as being sugges-
tive of the ardour and , vigour of the speaker—), but they are used ifc
the words of the poet. ^

Confusedness. mm, CoNFUSEDNESs is the insertion into *
sentence, of words belonging to a diatiuct sentence. As—

11 Forego the moon, fawn-eyed one, and behold thy pride in the
celestial court. « - . -

Properly here—* Behold the moon in the celestial conrt and forego
thy pride/

* The psmttg. SdhityardatpoMa, 4nd Kdvya.prdkds'a have both here
in composition with the next word. My MS. prehaps rightly reads ropi
apart.

292

Its difference from
Obsou#ty; f

The Mirror of Competition.

nn. ,* Obscurity’ respects only one sentence,
or a sentence independently of another, so it is

distinct from the present fault.

A Parenthesis. oo. A- Parenthesis is a distinct: sentence

wholly inserted into a principal one. As —

“Towards thy lover now humbly bending at thy feet, (I tell you,
my fair friend, the truth), anger is by no means proper.”
pp. He now mentions the faults of the Sense : —

Text.

The faults of Sense
specified.

No. 576. Irrelevancy, Impropriety of Order,
Rusticity, Contradiction or Inconsistency, Inde-
cency, Obscurity, Monotony or Want of Variety, Inconsequentially,
‘ Repugnant Suggestion, Dubiousness, Tautology, Opposition to Noto-
riety, Opposition to Science, Incompleteness, Dissimilitude of the
Associated, Introduction into a'Wrgng Place, a Specification where
there is no particularity, a Limitation where no restriction is
required ; Contraries of these, Impropriety of Predication, Impropriety
of Attribution, and Resumption of the Concluded : Thesaare declared
to be the Faults of the Sense or Idea.

Commentary.

a. ‘ Contraries of these’ — i. e. Non-specification where there is a
Particularity and Non-limitation where there is a Restriction.

Irrelevancy. h. Of these faults above enumerated ', Irrelevancy

consists in not being auxiliary to the principal sense. As—

“Behold, my love, the moon in the expanded heaven, and give up
thy anger.”

Here the notion conveyed by the word ‘ expanded,’ e. tlie circum-
stance of the heavent being spread out, does not in any way contribute
towards the lady's quitting her indignation.

How, different from * In the case of * Redundancy of a word,’ the

‘ Redundancy of a
Word.*

•xngs. c{ >• words, whilst here ' -to: fa

afterwards. This nytkifo the difference.

ouaEn; v

apprehension of the connection among the mean-

TK* 295

; |mprojpn% of or. “ Give me a horse, 0 king, or | j el*-

e \ phant, majestically slow.”

Bustioity. a. Rusticity ; as, {i Do thou lie down by in*”

Lord, I am presently lying down.”

Here the idea is rustic, or coarse.

Contradiction. / When having at first declared the excellence
or inferiority of an object, we speak otherwise a^erwards, it is termed
Contradiction. For example —

“ The digit of the new moon and other such fair things charm not
the Iffearfc of those young men who behold this slender-bodied lady/
the moon-light to the eyes of the world.”

Here the lady is represented as the moon-light for her charming
those very persons to whom the lunar digit is not a cause of delight.

Indecency. g . Indecency ; as —

NFjTO* USW flwxftp** I
WSSSJ ITT TO tl

(That man rises not again so soon as he falls, who is ever rigidly
bent on striking and is always seeking for holes, or the faults of others .)

Here the second sense is indecent, and suggested as it is ly the prin-
cipal meaning of the sentence and not ly the mere words , it is a fault epf
the sense, and is therefore distinguished from the same fault, occurring in
a word, sentence or Sandhi (see § 574 #. and t. and § 575 m).

h . Obscurity ; as —

Obscurity. “ It is the God of day, not the clouds, that,

rains pure water out of its rays. Yerily is she ( Yamm6) the daughter
of the Sun who has swelled the floods of the Celestial Stream (Ganga),
And is there the being who believes not in Vyiisa’s Word (the
Puranas), or has no faith in the Scripture ? yet this deluded doe
would see no water in the beams of the Glorious luminary

Here what ds meant is this 1 Since the origin of the rain and the
personified river Yamuna, is the sun, their waters too are directly
generated by the sun ; hence it is proper that the sun’s rays should
cause the preemption of water, yet the doe, deluded as she is, perceives
®° them.’ ‘ This senBe, which is not principally intended, is .

itself hard to be nntjepftood, and the more difficult is it, through it, to

294

The Mirf ot of

understand the principal' sense* thus allegorically represented. So
toe have here the fault of Obscurity.
i. u The sun always traverses the heavens, the windalways blows,
Monotony. the serpent Vasuki always bears the earth, and the

brave are always free from bragging”

Here the invariability is not expressed in each of ike four cases by
varied language. We admit the existence of this fault, Monotony, in
this passage, InasnldSh as no beauty is added to it by the mere
removal of the repetition of ‘ always* by the use of equivalents.
Thus it is distinguished from the fault termed Repetition of a word.
(§ 575 /.). To convey a clear idea of this faulty we shall exemplify
Ue opposite, viz. Diversity of expression :

** TKe Sun has yoked his horses once foT all, the wlmd^lo
Diversity of ex- and night, the Serpent ever bears th£ eartli*
pression. such is also the duty of him (the king) who lives

upon the produce of the sixth part of the land.”
j. “ Farewell to thee, Weapon, since I too will quit thee — thou
Inconseqnentiality. weapon that wast abandoned, from grief for his
Bon (falsely reported to be dead), not from timidity — even by him;
who bore thee, (improper though it was for a Brahman to bear arms),
for fear of being overcome by his enemy Drupada, — by whose prowess
none there was who has not been thy mark.” y

Here the .reason for the second laying aside of the weapon is not
stated, so there is an instance of Inconseqnentiality.

Repugnant Inti- k - " May thy son, 0 Lord of men, obtain
mation. royalty.”

Here we have a Repugnant Intimation, f since the passage suggests
the repugnant thought, ( Do thou die/

Obscurity. h “ Say, ye wise, whether mountaine er women

are to be resorted to.”

Here, there being nothing particular for the subject-matter, there
b an absence of certainty as to which of the two characters the
♦ This, abbordifcg to * the commentator, is the'- unwillingness of a ri<jwly
marrie^c^y ladjr tfc'l^eve that she wonld bbtain What the; could ^desii^ ia ^

v • - . , :-,er - . , ...

%It» ifeimwie : fitam Bepugnant Suggestion [?* *?■

^ j ' ^tWstain the fact that the repng)»ant , motion in the presen

bj/ && sense oif the sentence, while tbatinthe other j*

The^Mrrpr of Composition, 296

speaker may be, a quietist or a lover. There is, therefore, the fault
of Obscurity,

m. “ Let not a man heedlessly do a deed: indiscretion is the
Repetition. principal resting-place of evils. For merit-loving
Prosperity, of her own accord, chooses the man who acts with
prudence.” :

Here the second half of the stanza conveys contrariwise the same
sense as the second lino, and hence there is a Repetition.

Opposition to notoriety ; e. g. —

Opposition to no- »• “ Then did Hari move in the battle, bear-

toriety. ing a sharpened trident.”

Hero the trident of Hari, which people do not know respecting
this deity, he being always represented with a discus, is spoken of
faultily.

o . Or for example : —

Another example. « The As'oka, by the stroke of thy feet, bristles
with newly sprouted shoots.”

It is notorious, according to the fancy of the poets, that flowers, and
not new shoots, are produced in the As'oka tree by the stroke of
women’s feet . There is here consequently an Opposition to the conven-
tional usage of the poets.

Opposition to Science. p % “ The wound of the nail in the under-lip
of the fawn-eyed lady.” *

Here we have an Opposition to Science, t/ie wounding of the under-
lip by the nail being opposed to the erotic science.

Incompleteness, q, “ The breaking of [Isa's] S'iva’s bow, and the
rise of a Ksliatfcriya, and that gem— a fair woman—, how can Paras'u
R&ma bear these now?”

Here the word s to overlook’ is wanting after 4 that gem— a fair
woman—.’ We have, therefore, the fault of Incompleteness.

r. “ A good man fallen into adversity, a woman with her breasts
fallen, and abad man respected in an assembly are to my heart’s distress.”

Here a ‘ good man,’ and a ‘ woman’ are agreeable objects, and a
4 bad man’ asdoektef With them is disagreeable ; hence there is in the
passage the fault termed 4 dissimilarity of the associated.’

44 His authority is familiar with the crest-gem of Indra ;
Introduction foto the scripture is to him a new eye, his de-
a wrong piaoe. . votion is to the Lord of befogs who bears

the . Piiika fc6w/(S'iv«) ; hid; 'Tbetbitation "is l^ankd the heavenly
city ; and his family of Brahma. Such a bridegrooin

ypieft is indeed not to be found, were it not that he is Havana/ and
^hbw can all excellences be expected everywhere

Here the passage ought to be concluded at the word Havana.
Improper Specifi- *• “ How may we describe the ocean, the
cation- ■ receptacle of diamonds ?**

Here should be said in general * the receptacle of gems/

“ Thy navel is but an eddy, thine eyes are blue lotuses, the
Improper limita- wrinkles in thy waist are the waves. Therefore
tion. thou art a lake full of the water of loveliness/*

Here the limitation implied in c hut an eddy 5 should not be made/

Improper non-spe-
cification.

“ Ladies resorting to their lovers go ioVthe
• * . •*&*«?
night covered with a blue wrapped*

Here the night should be particularly specified thus — * in tE^dark

nights/

Improper non-li- w • “What do npt men do immersed in

nutation. pleasure affording present gratification/*

Here there should be a limitation made thus—* affording but (v*)
present gratification.

a?. * But/ somebody might object , in the fault termed * Omission of

what must be said* there is the absence, for instance, of Siftf in such
examples as, 1 ^hat particle of impropriety* &c. (§. 575. y), and here
there is the absence of V?, wbat then is their difference ? To this reply
some : 4 It is the omission of a limitation separately taken, that is the
subject-matter of Wlq present fault of non-limitation/ This is not the 4
/ease, since, were it even so, i. e. if Non-limitation were really only a
species of Omission of what must be said , there would be no criterion
fo* the two being reckoned respectively as the faults of a word and of
sense. w Then what is to be our alternative ? how are we to escape
from the dilemma V * Well, the difference is this, that in the

line affifniwSR ^ ffefl *rarfa for example, lie fault

'• „ becomes manifest on the mere utterance of the

. iCntenon of . fault ,

of thB.wordnndt^tt words, but here it is perceived after the apprenen-

t Ision of the whole meaning. So tl^Jt the two divi-

sic*»s ofdaulta^of wqrdand sense, though held by the : ancients as
circumstance of their bearing or not bearing an ex-

The Mirror ifOmpositign. fi&f

change of words, terpinite in this The fault that does not bear (i. ..
disappears on) an exchange of thewords is of course the fault of a Word;
but that too is the fault of a word which is perceived before the appre-
hension of the logical connection of words. And that fault which is aj($
prehended after the sense is understood, pertains to the sense. Similarly
is to be understood the distinction of Improper Limitation (§. 576, w)V
&c. from the Redundancy of a word &c. As to the fault named an. ;
Unacceptable second sense, for instance in (§. 182, »),

from the consideration of its pervading, of necessity, the whole sentence*
it is held to be a fault of the whole sentence. But Indecency and
otheft do not of necessity pervade the sentence.

Impropriety of Pre- V- “ He will hill his enemies, while he has
dication. gladdened his friends.”

Here what is intended to be predicated is that having killed his
enemies, he will gladden his friends.

Impropriety of Attri- *• “ Crest-ornament of the lord of Chancji

button. (orDnrga), 0 Moon, who dispellest the dark-

ness of the world, and takest the life of the absent lover, torment me
not in vain.”

Here in the speech of an absent lover, that which is denoted by
the third quarter of the stanza, ». e. the fact of his talcing the lives of
separated lovers , should not be attributed fo the subject, the moon t who
is propitiator ily addressed. /

“ ‘ That Sword, its whole length covered with blood (or, her frame
filled with the warmth of passion), which clung to the enemy’s
neck, which was seen by the enemy falling upon the elephants (or
seen by others falling upon^jbidinous men), — attached to that Sword
this man heeds not aught. Be it known to you, by him have I been
given up to his retainers.’ . Thus to speak, by Lakshmf’s appoint-
ment, as it were, his Fame has gone to Ocean (her father)."

Here the sontenco, though concluded by * be it known to yon,’ is
again taken up vpth ‘ by him’ &c.

He now ^t&te| ;h j faults of Fla^ur.

Text.

The Paultairf f^pur No. 577. The expression of Flavour (1) by
specified, ite own term, (2) as also that ot a Psrmantin^

$$$ The Mtrrofaf CpwpQntiwiff

or ^Concomitant (i. e. Accessory) Mood, Jhe ad(|8widto ofthe elements
of a conflicting Flavour such as an Excitant or the like belonging to it,

f Fkr-fetched Ensuant or Accessory, an Unseasonable Introduction,
nseasoDable Interruption, or a Repeated Heightening of Flavour,
Overlooking of a Principal Element, Celebration of an Unimportant
Object, Excessive Expansion of a Subordinate Element, Perversion of
Character, and improprieties of other kinds are held to be Faults per*
taining to the Flavour.

CoMMENTAET.

a. • The expression of Flavour by its own term,’ i. e. by ^e^word
Flavour or Relish (w) or such words as Amorous Desire (UFTC) and
the like. For examples in their order : —

a. fTTT^f V fTSUfSJTejH

(Having beheld that fawn-eyed lady there was experienced by
ub an inexpressible relish.)

1 . JJTfU' All WWtl I

('Having seen fhe lunar orb, my heart was sunk in amorous
desire.’)

e. The expression of a Permanent Mood by its own term, as —

“ Love (TfiD was excited in her when thou wast before her eyes.”
d. The expression of an Accessory by its own term, as —

“ The coy lady was ashamed on being kissed by her lover.”

Here in the first quarter of the stanza, it would be proper to
describe the shapae through its Ensua|| or effect (see § 162) and
read thus, * she closed her eyes.’

Admission of Elements e. “ Be not indignant, lady of the slender
of a conflicting Flavour. f r ame, seeing that youth is not lasting.”

Here the announcement of the transitorinoss of youth is an ele-
ment of ttye Quietistiq Flavour (see § 238) which is opposed to the
Erotic (§ ^10), and it 'is an Exeunt (§*61) -of the same Qnietistio
Flavour altomf ep that itb admission into the Erotic is improper.

FsHtpobed ^asoput* /. “ Behold the slender lady with smiling fa<*>
»lij|hdy^firt^>tf ,ii^-glance, as the cool-rajed moon, delighting ^
wlutefcs the earth.”

The Mirror of Competition* 299

Here the Substantial *ynl Enhancing Excitants (see § 69) of tha
Ilttvourtenuiuate in an Eclttant, but it is a forced Conception.

Far-fetched Exoitant. g. * 1 He shuns pleasure, loses all self-possejsh
sion, frequently falls down and rolls about; thus, alas, a hard fal§
violently overcomes his frame. How can we Help it ?” ;■

Here, the shunning of pleasure &c,, being alsq§possible in the ;
Pathetio or the like, such an Excitant as a wcpan is implied in a
forced manner.

h. An Unseasonable Introduction ; as in the second act of the
Venisaijhara, the representation of Duryodhana’s love towards his wifo
Bhamimati at a time when so many heroes were perishing in war.

i. . An Unseasonable Interruption ; as in the V ira Charita, the speech

of Kama, viz . *1 am going to take off my bracelet,* when the fight

between Rdma and Parasu Kama was just about to begin.

j. A Repeated Heightening ; as, for instance , in the Knmfira
Sambhava, the too frequent heightening of pathos in Rati’s lament.

L Overlooking of a Principal Object ; as, in the fourth act of Ratna-
vali, the forgetting of Sagarika on the arrival of Bdbliravya.

1. Celebration of an Unimportant Object ; as in tho Karpura-
manjari, the praising of the bard’s description ofSthe spring, to the
neglect of that by the king and the heroine themselves.

0 ». An Excessive Expansion of a Subordiuate*®lement ; as in the
Kiratarjuniya, the sports of the celestial nymphs.

Perversion of Character, n. The characters are divine, human, and
both human and divine ; these are subdivided (§ 66) into * high-spirited
but temperate and firm,* ‘ firm and haughty,’. 4 gay and thoughtful yet
firm,’ and • firm and mild ;’ and these again are further subdivided
into the 'best/ ‘ middling/ and ‘lowest.’ The representation of
any of these, not in accordance with what they are, is the fault
termed the ‘ Perversion of Character/ As for example, Rama s killing
Balin, by artifice, like a ‘firm and haughty’ character, though he was
‘ high* spirited/ |iut temperate and firm/ Or as in the Kumara
Sambhava, tj|e Ascription of $he amorous enjoyment# of the supreme
divinities Parvati. They', (*. <?., the authoUbf the K4vya-

prak^sft) remA^it unon it that this, like the description of
ment of 6ut^j|i^ ts infinitely improper. Other improprmtiea
are represen time or place or tho like otherwise than as they

800 • The Mirror of Owfcositim,

are; for in such cases there is an uuj^eibiUty of teaching those

that are to be taught (see § 2), from the poems seeming untrue.

# •••'

Text. :

No. 578. Apart* fr<nn these there is no possibility or Faults of
Ornament.

«. ‘From these ^s . from the sail faults. Such a blemish, for
instance, in the ornament of Simile, as a dissimilarity, or impossibility,
or an inferiority, or superiority of the comparison, as to $liius or size,
and ruch a fault in the ornament termed Transition as the confirmation
of a poetically fancied fact, are no other than that spoken of at tho
blemish of a word and sentence under the title of Improper Signif|q|tion
(§§574,675). For examples in their order :

Dissimilarity in Simile, b . ** I wreathe a poetical moon with -.the ex-

tended strings or rays (^fsj?) of sense.”

Impossibility in Simile, c. “ Thy arrows fall like a burning shower
of rain.”

Inferiority in Simile. d, “ Like an outcast that king lias exceeding
bravery in war.”

“ The lunar orb Ifiines like a lump of camphor.” #

Superiority in Simile. Like S iva this peacock shines with an

azure throat.” ;V

e. “Who (Himalaya) proteots from the

Confirmation of a poe- ' ‘ .... . ,

tically fancied fact, a sun darkness, like an owl, lying hidden m tlie

fau ^** mountaincaves : great indeed is the tenderness

of those of lofty souls (lit. elevated heads) even to a low person who

has resorted to them fqr refuge.”

In such cases as tfre abitfe, the matter mentioned being no real
fact, its proper character consists in its merely appearing to be bo;
its confirmation therefore is improper.

Incomplete Bhyme. /. The fault of a Rhyme occurring only in
three lines of a stanza is that termed Uneroployedness (§ 574<f). For

(^OiTa w Bud|iei]f a8 the moon rose, that beautiful one, with he?
!«ition|to j^»nds, goes but, smiling, to the gi»ve*hoaSe. > )

The Mirror of Composition* 301

g. In the: Ornament of Rbetical Fancy, the word ww? has the fault
of InoTCpressiveness (§ 574 jj.) } when used to imply a fanejv For

^ fafireT

(‘ This monarch preserves the earth, as if he were Justice, embodi-
ed in a material form/)

h. So in the case of the ornamont of Alliteration

when it is ; |jpposcd to the proper style, L e., the peculiar literal style
agreeable to the flavour of the piece, it has the fault named Repugnance
of fetters (see § 575 d.). As for instance in &c>

(* She rolls over and turns on the bed/ &c.)

i. And in a Simile, when there is a redundancy or deficiency in
the common attribute, there is the fault termed Redundancy of a
Word or Deficiency of a Word (see § 575, d . e.). For examples in
their order : —

41 S'iva with a radiance white from Vibhiiti
PimUe UndanDy in a sacr6 ® as h es that smear liis body), shines
with the splendour of his eyes, as an autumnal
cloud with r the lightning flash, bearing a fragment 0 f blue . cloud

Here the Holy One not. being represented as having an azure
throat, the fourth quarter of the stanza is redundant.

Deficiency in the same. “ Embraced by Lakshmi and charming with
a necklace of radiant pearls, the foe of Mura (Yishriu) shines like a
blue cloud adorned with lightning,” . .W- ' ■

Here that which Vishnu is compared to, viz., the ( blue cloud,*
should he represented, as attended wi^jpjranes, in correspondence to the
circumstance of the deity's being ornamented with a pearl necklace .

Incongruity in Simile* In the same ornament, the difference be-
tween the thing ep^apared and that to which it is compared, as to >
gender and number, as s^lso that as to tense, person, predication or the
like, come th^ fault termed Incongruity of Expression (see § 575

(1) . The moon pure as ambrosia,*)

(2) , (‘Fame white as moonbeams.’ ,

(8)i • * lue^plbll: wos'tlie lustre of the two, as they were travelling

dressed in pure garments, like the splendour of the moon and Ohitra
(the star) at the conjunction, when they are freed from mist .”

Here the fact is uot that the splendour of Chitra, and the moon so
circumstanced was only if, fast time, but that it also is constantly
taking place.

(d> erw? irN (‘Like a creeper shinest thou, 0 tender
lady.’)

Here the verb Time' (* shinest’) used for iSfl (* thou’) cannot be,
as it is meant to bo, gonstmed with ^fWT (‘ a creeper’) wlfech should
take the third personal verb VTJTW (‘ shines’), an, ellipsis of the same
being here inadmissible.

(5). sftwg w w i

( ‘ Long live thy son as the saint Markandeya.’)

The .saint Markandeya lives and this fact ought not here to bo
predicated of him by the verb of the benedictive mood sffag (‘ ma y
live’) which is syntactically to be construed with M&rkandeya.

k. In the present case, however, viz., that of the ornament of Simile,
where the expression denoting the common property, in spite of the
difference of gender or number in the object to which the comparison
is made, is not incongruous, there is no fault. For example)) in their
order : —

(1). “ The faco shines as the moon.”*

(2). 'sflfVrewcwnffw: i

m w wrwi fwir v * »

(‘Unlike that of other women, her dress, laden with sweetness,
exhibited the highest splendour, as her blandishments.’)

In the former examples, sin^the expression of the common propel*
ty comes to be logically connected with only one of the two objects
compared together, the intended sense is evidently not properly
conveyed. ‘ >

'' Irrelevant Allitera- L Similarly when the alliteration is useloss
: f. or does not minister to the Heightening of the

sentiment, it has the fault of Irrelevancy. For instance--

• •' * - - -m ' " '

iff:*;

The Mirror of Composition. ; 808';:

( l Thy ramble, crimson-footed Indy, excites but in vein fancies of '
love, ns thy girdle of gems sharply sounds, andgcontinuously tinkles
thy musical anklet.*)

This, according to the commentator, is a speech of disaffection, and
the musical assonance of soft consonants employed in the couplet is of
no use and therefore irrelevant in this place , being favourable only to
the Erotic Flaimr.

m. Similarly the Modal Metaphor (wrerfai) has the fault of Tauto-
logy, wben%e second object (i. e the object to which the comparison
is made), is expressed, though understood by the force of the attri-
butes equally applicable to both objects of comparison; and tho
Indirect description has the samo fault when the

principal sense though apprehended by suggestion is verbally mention-
ed. For examples in their order : —

( 1 ).

(‘Though he was in love [or red], gave no pain [or heat], and bore
a form pleasant, or not dazzling , to tho eyes, that courtesan, the
Western Quarter, as his wealth was exhausted [or as he was shorn of
his rays], drove the Sun out of the mansion of ether.*)

Here by the expression ‘ Western Quarter* alone the character of a
courtesan would be understood in respect of it, the addition therefore
of the term i courtesan * is tautological.

(2), ‘The musquito, coming forward when the wanderers of the
heavens are invited, is not prevented ; amber dwelling in the midst
or in the front of the gems takes their lead ; even the glow-worm
trembles not to intrude among luminijies : Fie to the common pro-
perty that, like a senseless master, recognises not tho difference of
things.*

Here the actual mention of 1 a senseless master* is improper.

So in the Embellishment named Alliteration (see 633)

the absence $ n&toriety has the character of the fattlt ‘ Opposition to

Notoriety.*

. ; faff •

804 The Mirror of Composition*

. (* The Wielder of the Discus bestowed upon this monarch the domi-
nion of an emperor, tty* Render of the Mountains the lofty umbrella,
and He with the bull on his banner endued him with holiness.’) *

0. The said faults are sometimes no fault If and sometimes positive
merits. So he declares : —

Text.

Harshness, when a No. 679 - the speaker is enraged, or

mor,t * the theme lofty, Unmelodionsness becomes a

merit, but it is absolutely so, when the Flavour is tho*Furious or the
like..

Commentary.

a . The designation of ‘ merit’ or * excellence’ (see Chapter VIII)
given to these qualities, — Unmelodionsness and the like , — is only
secondary, being applied to them only because of their ministering
to the heightening of the chief excellence, (i i . e. the merit properly
so called) which consists in a particular species of poetical Repsh
(see § 33.) The following are the respective examples of the three
cases of Unmelodionsness assuming the nature of a merit } mentioned in
the text .

Harshness, when the OO H

speaker is enraged. ^r: t

1. (* That cruel deity of the five shafts who mercilessly and
incessantly pierces my heart with the koenest shafts, emaciated
as I am by separation from my beloved, and while my spirit
trembles in my throat,— -0 may the tyrant’s whole self be annihilated,
consumed again by the fierce flames of the eye of S ambhu, as bis
mind is subdued by compassion for his creatures,’)

Here in the Erotic Flavour au angry person is the speaker.

Harshness, when the 0^) SUpJW-TV*

theme : ~ «

s?fa?ncg ftp* *

The Mirror of Composition .

305

(* May the awful dance of S'ambhu bestow felicity upon thee ; that
dance which impetuously hurls up to the heavens myriads of stars
id the disguise of th^e particles of water that are sent up by the
tumultuous waves of the river of the gods, roaring in agitation on
Ilis head ; that dance in which the upper portion of the universe is
whirled by the wind rising in fierce whirlwind from the revolution
of His mighty feet which he tosses up.’)

Here the theme is lofty, being the terrific dance of Mahddeva.
The two preceding stanzas are mine.

c . In such a Flavour as the Furious and the like, Unmelodious-
ness is a merit in a far higher degree than in the two instances above.
For example, take the verses beginning
(3) (‘ Having first torn and stripped off the skin/ &c., see § 236. a .)
the Flavour of which is the Disgustful.

Text.

Indecency, when a merit. No. 580. Indecency again is such in

an erotic gossip, &c.

^ Commentary.

а. Again is such; i. e is a merit ; e. g .

(< The elephants having entered and agitated the arrays with their
trunks, the banner of the hero shines in the midst of the army.”

Here in the amatory colloquy there is followed a rule of the erotic
art — “ One should intimate a secret purpose by equivocal words/*

б. By the words i &c/ the same is to be understood with regard
to a discourse on quietism or the like.

Text.

No. 581., Obsoleteness (see 571. i, i,) and Unemployedness (see

Obsoleteness and Unom- 57L r ' r ‘) are uo fuult8 ia ft Paronomasia
Ployedness, when not faulty. ( see 705) and the like.

Commentary .

«• For example : —

vnSxrwfsjf IN w*r i

'rmmw »

“ Worship ye the adored waters of the Divine Eiver (Qanga) as
fall — the waters that are hard to he approached, that divide

306

The Mirror of Composition.

mountains, that are holy and vanquish Naraka (Hell)— thus resembling
Hari (Indra) and Hari (Vishnu, the destroyer of the demon Naraka)
and Hari (the lion which destroys elephants^ *'

Here the word (pavitra) has an obsolete sense when used for
Indra. In the case of a lion, the word HrfT is Unemployed in the
sense of WWT (elephant).

Text.

Unmtelligibility when a No. 582. Unintelligibility is a Merit
mer * t - when the speaker and the person spoken to

are wise.

For example :

“They declare Thee Nature that energises for the sake of the Soul,
and thee they know to be the soul — the passionless Spectator of
Nature.”

Text.

The same when again a 583. Or when one thinks by hirn-
“ erit - self.

Commentary.

Unintelligibility is a merit — so much is to be supplied in the text.

M. g. fwsv?

TJt’irq mfa: I

tpg

Trwrarw*?; 11

“ I meditate upon that pure moon, the Soul, that rests in the Unsus-
tained, who when associated with the attributes of Nature (^T)*
sustains this Universal Darkness (i. e., mundane illusion) — who, when
devoid of those attributes, dispels it.”

Text.

No. 584. A repetition (again is a Merit) when (1). something

Repetition, when a me- predicated is referred to; as also (2) in
rit. grief; in surprise; (4) in anger; (5)

* means the digit of the moon also, fSflTWWni means the
or the lotus of a thousand petals supposed to exist in the brain by the Hindu
Ascetics (Yogis),

307

The Mirror of Composition .

in misery ; (6) in the Latannprasa (7) in mercy, (8) in propitia-
tion ; (9) when the expressed meaning is transferred to another ; (10)
in joy ; (11) and in decision.

* Commentary.

(a.) Supply in the text “is a Merit.”

B. g. “ Red rises the sun and red it sets.” Here the epithet “ red”
which was predicated is referred to.

(S.) * Alas ! alas ! My lovo has gone and come not back in the

spring V Here we have grief exemplified.

( 0 .) “ 0 wonder ! 0 wonder ! How fair-faced lady there is here the

moon without a firmament !”

Here we have “ wonder.”

(<?.) “ Lady with the charming eyes, turn thy eyes, &c.” Here

there is the Latanuprasa.

(e.) “ His eyes indeed are eyes &c.” Here the second “eyes”
is used suggestively with its expressed or literal sense passing into
another.

So of the other cases.

Text.

Dubiousness when a merit. 5 85 ' So is Dubiousness (§ 576), if it

terminates in the ornament named Artful
Praise (vyaja-stuti, § 707).

Commentary.

Supply “ is a Merit” e. g . &c. (§ 648. 0 .)

Text.

No. 586. Obscurity and Unmelodiousness are so, when a great

When obscurity and un- grammarian is addressed or is himself the
melodiousness are merits. speaker.

Commentary.

(*•) They aro Merits. JS. g.

wtiTWsr* 1

flTT VmfiW: H 7T fl

“ There at thy presence, some fared like the roots ‘Didhp and

^ v V bearing neither flit* (mefit) nor (excellence) and some
resembled the affix * kwip/ that disappears entirely .

* Technical terms for grammatical augments.

308

The Mirror of Composition.

Rusticity, when a merit.

Here the sense is obscure and a grammarian is the speaker. So
also in the case of his being addressed.

Text.

587. So is Rusticity in the words of a
low man.

Commentary.

It is a Merit. For example take my verses : —

“ Yonder orb of the moon looks like a lump of butter, and these
troops of horses flying all around appear like streams of milk. ,,

This is the speech of the (Fool).

Text.

„ T1 _ .. A No. 588. Inconsequentiality does not

When Tnconseqnentiality, # a

or an absence of reason, is attain to the nature of a fault when the

no fault. notion expressed is established.

Commentary.

a. For example.

“ Now the time of evening separates the couples of herons.”

Text.

When 9 Opposition to no*

No. 589. In a well known convention
of the poets * Opposition to Notoriety’ is a

Poetical conventions.

toriety* is a merit.

Merit.

Commentary.

o. The following are established by the convention of the poets :

Text.

No. 590. The sky and sin are described as black ; fame, laughter
and renown as white ; anger and love as
red. Red and blue lotuses are spoken of
as growing even in rivers and seas, and birds such as the duck and
others invariably hannt all receptacles of water. The Chakwas drink
the moonlight ; and in the rainy season the ducks emigrate to the
Manasa lake ( Manassarovara ). The Asoka flowers from the stroke
of fair women’s feet and so does the Yaknla from the wine of thejr
months. The necklaces on the breast of yolithful lovers along with
their hearts burst from the flames of separation. The God of Rove
bears a flowery bow furnished with flowery shafts and strung with a
string of bees. His arrows pierce the heart of the young and so does
the glance of a woman. The lotus blooms in the day and the lily

The Mirror of Composition . 309

daring the night; there is always the moonlight in the white
fortnight. The peacocks dance at the grumbling of clouds and the
Asoka does not bear fruit. The Jati blooms not in the spring and
fragrant trees neither flower nor fructify, and so forth. Other poetical
conventions are to bo found out in the compositions of good poets.

Commentary.

a, Illustrations of these are clear in the poems.*

Text.

No. 591. In such expressions as (tho bowstring of a bow)
Pleonasm, when allow- the like, the words HW: &c. are to

able.* denote that the bow is strung, &c.

Commentary.

For example.

“ Heaven and Earth were filled with the clangour arising from the
twanging of the bowstring (Wr«qT).” Here though the word
(bowstring) suffices to convey the meaning, the pleonastic use of the
word W (bow) is intended to siguify the tension of the bowstring
upon the bow. The words “ and the like” refer to such
expressions as ^pJrraTffa &c., in such examples as MTfir
(the earring in thy ear shines) ; where the word (ear) is
employed to denote that the earring is worn in the 3P*r. Similarly
(the earring in the ear) fitoifarc (the crest gem of
the head) &c.

In like manner though the term (garland) without an

antecedent qualification denotes a wreath of flowers, the word
(flower) in the example ^ ( <th y flower S arland

shines*) is intended to imply excellent flowers. So in the example
(u necklace of pearls) the word *j?RT (pearl) signifies its being
unmingled with other gems.

Text.

No. 592. These may be employed when already existent.

Commentary. &

Such expressions as (the bowstring of a bow), warranted by
usage in good poetry may be used in poetical composition ; not such
* mines or original sources from which these rnlcs of composition

wore derived.

310

The Mirror of Composition.

as snpramfl (girdle of the loins) (bracelet of the arm)

which are not so justified.

Text.

Verbal Deficiency, when No. 593. Verbal Deficiency would be a
a Merit. Merit in the speech of one immersed in

Joy or other Emotion .

Commentary.

For example.

*TT ITT *Tm<S *TTfW ^THTWSTTfq^

T$nr far *?<tt far ^ f^NPfaT *r far ” 11

(Was she asleep or was she dead, melted in my soul or dissolved
away, when, with breasts dwarfed by my close embrace, with horri-
pilation excited, the vesture of her beauteous loins slipping oft’ from
the excess of passionate love, she breathed out feebly iii broken ac-
cents — “ Nay, nay, my lord, me — not too much, enough.”)

Here there is a deficiency of the word Mtsq (press).

Text.

Sometimes neither a me- No. 594. Sometimes it is neither an
rit nor a fault. excellence nor a blemish.

Commentary.

{ It’ i. e. verbal deficiency ; for example :

spnwfqiw w *r fujfir i
wt vjf ' w ^ t ij wffr»Pf i

(Perhaps she may bo staying in anger, concealed by her super-
human power — she is not angry long ; perhaps she has flown away
to paradise — her lpiml is tender in affection. Not the enemies of
the gods themselves could ravish her in my presence ; yet she is
altogether passed from before my eyes : What can this be !)

In this example the words ‘ It cannot be so, because’ are defi-
cient after the words “ couceuled by her superhuman power” and “has

311

The Mirror of Composition.

flown away.” In the deficiency of these words there is no exc|jjence,
because it does not heighten tho Accessory Mood designated Debate,
(see text 202) which is suggested by the above example. On the
other hand, the repugnance of the fact implied by the words ‘ may be
staying’ to the fact implied by the sentence < she is not angry long’ is
clearly apparent, and therefore there is no blemish.

Text.

Verbal Redundancy, some- No. 595 - Sometimes a redundant word
times a merit. J g a Merit.

* Commentary.

For example :

tl That an evil man, all on a sudden, docs things never even to be
imagined, it is not that I do not know — I know ; Yet my heart feels no
nnkindness.” Here by the claicso “ it is not that I do not know” there
is the exclusion of negation. In*the second phrase “ I know,” there
is a especially striking point viz., ‘ I know and I only,’ through the
exclusion of the attribution of knowledge in regard to others.*

Resumption of tho Con-
cluded, sometimes neither
merit nor demerit.

Text.

No. 596. Resumption of the Concluded
(§ 575 p) is sometimes neither an excel-
lence nor a blemish.

Commentary.

For example — (Other are those lands which pro-
duce such gems, &c., see § 575. i.)

Here though the sentence is completed by the former half of the
stanza, yet in the latter it is resumed. Thus, it is to bo understood that
there is the fault of the Resumption of the Concluded when only a
qualification is resumed, that is to say , takes up again the sense already
oompleted ; but such is not the case when a distinct sentence or clause

is added.

Text.

a Parenthesis, sometimes No. 597. The Cse of a Parenthesis (§
a merit - 575) is sometimes an Excellence.

* This farfetched explanation can hardly be admitted as oorrect| as the
repetition is evidently and na turally for the addition of force.

312

The Mirror of Composition .
Commentary.

a, ~Por example.

“ The Earth is conquered, whose four bounds are divided by the
Elephants of the Quarters ? Conquered — lo ! even while we say it,
our hairs stand on end — it is bestowed upon a Brahmana (Kasyapa) I
What more ? Glory to that Kama from whom arose this wondrous
tale and in whom again it set. ” Here the clause “ even while we
say it,” parenthetically inserted in the pregnant sentence, displays an
excess of brilliance.

Text.

Excellence falling off, No. 598. Likewise Excellence falling
sometimes a morit. off. (g 00 § 575 .

Commentary.

a. 1 Likewise’ i. e., it is sometimes a merit. For Example : —

Tfrefasifcr n

Here, in tlie 4th verse, the avoidance of grandeur of language on
account of the softness of the sense is an Excellence.

Text.

No. 599. Sometimes the mention of an Accessory by its pro-
Naming of an Accessory, P er name (see § 577 a, b, c,) is not a ble-
sometimes no blemish. mish where the composition , is not proper

to be elaborated by Excitant and Ensuant. * *

Commentary.

a. Where there is not a distinct apprehension in setting forth the
object matter by means of the Excitant and Ensuant, and where the
absence of the elaboration effected by them is favourable to the
composition, there is no blemish in the mention of the Accessory by
its own name.

b. For example :

“ She who, at the firdt union, had made haste in her eagerness,
but was turning aside from native modesty, who, on being made to
turn towards her husband again, by the repeated urgings of her fair

The Mirror of Composition. 81$

friends, seeing him before her, was seized again with timid emotion,
was embraced by smiling Siva and was thrilled — may that Gafjprf be
for your felicity !”

e. In this Example, if the Accessory Mood, viz . Eagerness ,
instead of being actually mentioned, had been represented, or left
to be understood, by means of the Ensuant “haste,” the sense would
not have been readily understood. For “haste” may also be occa-
sioned by fear and the like. 1 Turning aside’, here , the Ensuant of
bash fain ess, may also result from anger or other emotion. While tho
development of fear and tho comic sentiment by means of the Ac-
cessories would be almost unfavourable to the present Flavour :
So it is legitimate to mention all these sentiments by their pro-
per titles (instead of leaving them to be suggested).

Text.

No. 600. The mention of a conflicting Accessory or the like

A conflicting Accessory, in such a manner that it may bo sublated,
how to bo admitted. i 3 an Excellence.

Commentary.

a . 11 0 ! a bad action and the offspring of the moon, how incon-
sistent” &c. (see § 249 d .)

In this example, the obscuration or sublation of Debate, Resolve,
Apprehension, Equanimity, which are subsidiary to Quietism, by
Recollection, Depression, and Painful Reflection— subsidiaries of
Desire — terminates in giving rise to an Excess of Relish in which
Painful Reflection predominates.

. 9 Text.

No. 601. There is no incongruity where a conflicting flavour is

Conflicting Flavours, how 0) recalled or (2) described under a com-
to ho admitted. parison or (3) where two or more flavours

stand in the relation of principal and subordinate.

Commentary.

a - Por examples in their order : —

“ This is that hand that drew my girdle” &c., (§ 266 i)
Here the exciting cause, m , tho husband ofys lamenting widow, being
destroyed, Love is no longer a Relish, and its subsidiaries being
recalled to heighten Sorrow, harmonize with the Pathetic.

814 The Mirror of Composition.

bo WTIJrWT

m 8 m i

(There was the burning passion, there was the profuse flow of the
heat-drops, there was the resonance of the massy thighs struck with
the hand, there was the biting of the lips with th# teeth, ever and
anon : thus the princes were served by Wrath as by their beloved.)

In this example, the sentiment of * love in union” is suggested
under a similitude to the Ensuant of Anger which is. an Accessory of
the Heroic Flavour here represented.

e. “ May the three eyes of 8 'ambhu protect you — eyes showing
different emotions during abstract contemplation — one closed like a
bud in meditation ; the second, languid with love, fixed on tlio 16tus-
face and swelling breast of Parvati ; the other kindled with a flame
•of wrath against Kama who had drawn afar his bow.”

Here Love for the Deity is intensified by the Quietistic, Erotic and
Furious Flavours.
d. Or for example :

“May the fire of Sambhu’s arrows consume your sins — that fire
which resembled a lover that has recently offended, for, as it touched
the hand, it was cast away ; as it caught the hem of their garments,
was with force repelled ; as it seized their hair, was tossed away ; as
it fell at their feet, in their flurry was not looked at j as it clasped
them around, was thrown off by the ladies of Tripura, their lotus
eyes suffused with tears.” f

In this example, Love, conceived by ppet towards the
Deity predominates. This is developed by the Divine Energy
iu the destruction of Tripura, and the Pathetic is ancillary to
this Energy, which not being fully developed has not attained
the rank of Flavour Proper, but is only an Incomplete Flavour.
To this Pathetic again the Erotic is ancillary, being suggested by
the force of the similitude c resembling a lover.’ Thus, inasmuch as
the Pathetic is not the ultimate sentiment, it is merely subordinate-
The two Flavours,, therefojjjp, viz. the Erotic and the Pathetic, do not
conflict with ope pother, as they both elevate the Relish consisting 111
the sentiment of Divine Love, developed by the Energy of the Deity#

315

The Mifror &f Compoeitien.

gad as they exist simultaneously as ancillary to them. * How can an
An Objection as to the incongruity,’ it may be asked, ‘ be suspected
inoongrnity of Flavours. between two Flavours which both consist

in the fulness of unintermitted Joy composed of the three-fold emotional
apparatus, viz, the Exitants, the Ensuants, and the Accessories,
since they could not thwart each other — not being manifested simul-
taneously m the same sentence. Nor is there the relation of the

„ „ Principal and the Subordinate, since they

Kama of Concomitant 17

Flavour given to the so- ere both absolute and complete in them-

Flavours as are other than the principal,

there is customarily applied by the Ancients the name of Concomitant
Flavour, inasmuch as they cannot terminate absolutely in themselves
and are distinct from a fully developed Flavour and a mere undevelop-
ed sentiment. And my grandfather’s younger brother — himself a
leading poet and a scholar — the Venerable Chandidasa gives the
name of Partial Flavour. Thus he says :

“ If in the midst of a Flavour there is another as (1) ancillary or

The same named by some ( 2 ) as 0110 to bo Elated or (3) as a Con-
Partial Flavour. comitant Flavour — which is not relished

n its integrity — this is called a Partial Flavour.”

e. It may be objected : How can the Heroic and the Erotic which
are incongruous according to the rule formerly laid down, viz . c The
Erotic is incompatible with the Pathetic, the Disgustful, the Furious,
the Heroic, and the Fearful (& 242}’ be employed in the same place
as in the Stanza :

li Repeatedly beholding the lotus face of Janaki thrilled and throb-
bing with smiling love, and the cheeks which stole the splendour of
the tusks of the young elephant — and hearing the confused clamour
of the Demon Army, the Prince of the Raghus binds fast the knot of
his matted hair.”

/ We answer : There may be congruity or incongruity among
GoDgraity end ineongrui- Flavour* in three ways; in some cases by
ty of flavours determined, reason of the identity of the Exciting cause ;

in others by reason of the identity of the # subject of the Emotion;
an d in others by reason of immediacy of succession. The Erotic
and tl»© Heroic are incompatible, if the Exciting Cause is wppo&d

S16 The Mirror of Composition.

to be the same; so also ‘Love in union* is incompatible with
the Comic, the Furious, and the Disgustful; and ‘Love in sepa<
ration’ is incompatible with the Heroic, the Pathetic, the Furious,
if the same object be supposed to excite these sentiments . There is an
incongruity between the Heroic and the Fearful where the Exciting
cause or the Feeling subject is the same. The Quictistic and the
Erotic are rendered incompatible by immediacy or identity of the
Excitants. The Heroic is compatible, in each of the three modes,
With the Marvellous as well as with the Furious ; the Erotic, with
the Marvellous ; the Fearful, with the Disgustful. In the above
example, therefore, there is no incompatibility between the Hgroic
and the Erotic, because the Exciting causes are different. In like
manner where the Heroic exists in the hero and the Fearful in the
rival hero of the composition, there is no incompatibility, since the
Subjects of the Emotions differ. As respects the Love displayed
towards Malayavati by Jimutavahana though a subject of Quietism,
in the Nagananda, since the Marvellous in the words ‘ How she
sings and how she plays* is introduced intermediately, there is no
immediacy of succession, and hence there is no incompatibility between
the two Flavours, In like manner other places are to be understood.
In the example ‘ The palo and emaciated countenance* &c., paleness
&c., are ancillary to 1 love in separation' as well as to the Pathetic ;
hence there is no incompatibility.

Text.

No fault is fault in imita- No. 602. All Faults cease to be such

where there is imitation.

Commentary.

a . ‘All* i. <?., Unmelodiousness and others.

i. For exampie —

ip* apw r

(A certain one battles. Lo ! I bow down before Dus'chyavana, &c.)
Here the word Dus'chyavana (Indra) is Unemployed (§ 574 d.)

Text.

No. 003/ Similarly it is to be determined, according to propriety)

Faults, generally so called, by the .critics, that the other Blemishes also

317

The Mirror of Composition.

are sometimes no faults and are sometimes blemishes, sometimes posi-
somotimes merits. tive merits, and sometimes neither, as the

case may be.*

Commentary.

a. ‘ Neither’ means neither blemishes nor positive merits.

b . So much for the Declaration of Blemishes , the seventh chapter
of the Mirror of Composition.

* In Roer’s Sdhitya, read instead of

'OH AFTER VIII.

The Declaration of Merity, or Excellences.

He states the Excellences.

Text.

No. 604. Excellences are to tho Flavour, the essence of Poetry,

Excellence defined. what heroism and the like are to tho Soul.

Commentary.

a. As heroism and the like are designated by the term Merit,
inasmuch as they cause the exaltation of the soul viewed essentially,
so in like manner are Sweetness and the like which are the qualities,
or particular modes, of Flavour, the essence of poetry. It is these
attributes of Flavour that constitute the claim to the designation of
Poetry, of a composition communicating its essence, viz. relish. It has
already been shown that they are attributes of the Flavour only.

Its three varieties.

Text.

No. 605. These are of three kinds —
Sweetness, Energy and Perspicuity.

* Commentary.

■ a. ‘ These’ n^ans the Excellences. Of these —

Text.

No. 606. Joy consisting in the melting of the heart is called
Sweetness defined, Sweetness, or Tenderness.

Commentary. , r

a. As for the assertion of some (the author of Kavyaprakasa)

* . / ■' « that Sweetness is the cause of melting, it

Sweetness, tit softness, m .. .... , . ,, ,

Poetiy, is not the eause of, M not so; for the meging being identical

with the joy consisting of %e Belish of

poetry, cannot be its effsct. Melting i 8

ftbeu, the softening, as it were, of the heart of a inch of wtoaibiiityi
by absence of hardness or a natural unimpassionedness, of the
inflammation produced by resentment, anger and the like,, and of .
agitation caused by surprise, mirth and so forth,— and by the; excite-
ment of joy impregnated with the emotions of love, &o. This again*-

Text.

Sentiments in which it is _ No. 607. Is successively higher in love
successively developed^ a in Union, the Pathetic, Love in Separation
and the Quietistic,

higher degree.

Commentary.

d. Love in Union and the other terms are used in a general sense.
It is to be understood therefore that Sweetness may reside also in
Semblances of Love in Union, &c.

Text.

No. 608. ^ (r) and vr (n) short, and such letters, excepting the

What manifest Sweet- cerebrals as are preceded by the

nesa * last of tbo series* i. e. the dentals , cause the

manifestation of Sweetness* as also an absence or a paucity of com-
pounds 4ind a melodious style.*

Commentary.

a. For example. —

Sweetness in short com- 1* *1 T^T*M I I

pounds, exemplified. ■

(Her beautiful^side-glances* Lovers auspicious abode, ever and
anon beget in the heart of youths a series of pangs.)*

i. Or, for example* my own verses

Another example of *m%Troi ; pmwHf wjppu

^ in - 1 nii ^ ^ ♦ ^ ^ j

X^JK w[TXt It

Sweetness.

* For iiiitanoe, the verses of Gftegovinda which are not wanting in
^ponads^d,!

yet exquisitely sweet, from an absence of harsh letters..'
nlauor, ‘melodious style 1 me&us a composition sofcbbth
as to Sound and aikso, for notwithstanding the presenoe of smooth words* '■'*
perceive no where the sentiment is not delicate or tender.

#0 The Mirtor

{Agitating the bower of creepers resonant with the hum of joyous
bees; embracing the body and quickly awakening love; gently
shaking the blooming lotus and wafting the pollen, the wind scatters
abroad the nectareous dew.)

Text.

No. 609. The state of being fired or, in other words, an expansion

of the mind is what is termed Energy : Of
Energy defined. ... t , . , _

this there is a successively higher develop.

ment in the Heroic, the Disgustful and the Furious.*

Commentary.

a. ( Of this* means ‘ of Energy.* Here also the terms Heroic, tfcc.
are used in a comprehensive sense, and so it may reside in the Semb-
lance of the Heroic and the like.

Text.

No. filO. The first and the third letters joined with the second
Causes of its manifest* and fourth of any series, that is to say, with
ation * any of the aspirates } such letters as are

combined with r (x:) preceding or following or both, the cerebrals
(w w ??) even though uncombined with another consonant, and the
hard sibilants W and ^ serve to manifest this Energy ; as also an
ample use of compounds and an exalted stylef of composition.

Commentary.

o. For example : (see §598 a).

Text.

No. 611. Pe|jpictuty is that, which existing in all the Flavours
Perspicuity defined. and thefmr 8t ? les of composition, pervades

the heart, as fire spreads itself through

dry fuel.

* Our commentator gives the following different view, which we ourselves
should prefer, of Chandid&sa who taking that of the author of Dhwani-siddhanta-
sangraha observes : In the Heroic and the Furious, Energy is unopposed ; in
the Disgustful, it is slightly impregnated with Bweetness, or softness $ while in
the Comic* Marvellous and Fearful there is an admission of bofc^. According
to this je^eater energy in the Furious and the*$Heroio than in

scholiast, means lofty as to sontoienfe

321

The Minor of Composition .

Commentary.

( Pervades* means * excites its sensibility. *

Text.

Perspicuity how mani- No. 612. Words conveying their mean-
fested. ing as soon a8 they are heard serve to

manifest it.

a. For example : —
Perspicuity exemplified.

Commentary.

stflrofer to wiTmm

fspsJTOT t |

TO* UrtWl fNfTOWftT
t II

(Thou necklace of pearls, though pierced but once by the needle's
point, rollest in the bosom of my beloved ; I, cut to the quick a hundred
times by Love’s arrows, see her not so much as in my dreams.)

Text.

Excellence figuratively No ' 613 > lt is b 7 a tro P e tbat these
attributed to words. Excellences are spoken of by the learned*

as belonging to the words.

Commentary.

a. Add ‘ As heroism and other qualities are tropically attributed
to the body.*

Text.

Merits of words, recog. N °* 6l4 ' As f ° r the %' ts > declared V
nised by the ancients, dis- the ancients, Consonance 4 (s'lesha), Har-

® mmdu mony (samadhi), Sprightliness (audarya)

and Brilliance (prasdda),f these are included in Energy.

Commentary.

a. 1 In Energy* e. e. in attributes of word or me*)ping tropically
designated by the term * energy/ (which properly means an expansion
of mind),

* * By VSm^a and others/ explains the scholiast.

t These four <nad the following fire, viz., Simplicity ( mddhurya }, Lucidness
(artha.vyakti), Elegance (JcdnU), Softness {sutomdrata) and Evenness ( tamatd )
Wor © recognised by Yfanana and others as merits of word.

822

Consonance,
example : —

The Mirror of Competition.

b. Among these, Consonance consists
in the sounding of many words as one ; for

«*fws 'gfwuwunft towwit

sw ii

(As there arises on high a sound excited by the continuous and
furious lashing of the mighty sea-elephants emerging from the deep,
which fills with echoes all the hollow grottos of the mountain, distract-
ing the passage of the ear ; so rises yonder wave white with unnumlered
shells rolling incessantly.*)

This is no other than Energy, consisting, as it does, in the rough-
ness of the composition.

c. Harmony consists in alternate rising and falling. Rising and
falling mean elevation and declension, i. e %
Harmony, m j ncrease an fi decrease of sonorousness ; tlio

alternation of these is their arrangement in a manner not marring
the relish. As, ^5^1^ (see §598. a ).

Here in the first three verses, there is a gradual increase of sonorous-
ness in the composition ; in the fourth line, a decrease, though this
too is forcible, inasmuch as it is pronounced with strong effort.

d . Sprightliness is briskness of style.
It consists in what may be called a dancing

movement of the words ; e, g.

WqTWSfaT I

Hifsifa M W* II

'•if, ( .

(There wee the varied and melodious jingling of the anklets which
the dancing girls wore on their feet.)

Here also, according to the teaching of the ancients, without a
reference to the Relish, there is Energy resulting from the liveliness
o the expression.

e. Brilliance consists of simplicity,

Brilliance. mingled with energy ; for example

* The scholiast ^roada npqslfli. for TW — and interprets it ‘ rolling from
being dead,* which ii evidently a mistake, for shells living or dead must roll
Vitt^the rolling waves.

Sprightliness.

328

The Mirror of Composition.

St v wriftvfw TTru^TTf Tr^rf

St vt ’Ttw^StS f«TOTfaqmiT »ni^gi jwt tt i
St *fw?^wrfT ^S ir^ ^ 'snftqi

Sfnrp^rw <tsj sritrfTipfw^f'flST^ u

(Whoever holds a weapon, &c. see §368, a),

Text.

No. 615.

Simplicity.

Ia declaring that Sweetness is manifested by an absence
of compounds, we have already admitted
the 4 Simplicity’ of the ancients defined to

be ‘ n separateness of words/

Commentary.

a . For example: —

^repmsfir WfT% *pwrii*mrara
<tS' Srf^frr fVfatn*i?r ’gmfMsrnisrflf i
*T3fv?fPT<ft wssf<r S *nN
f»HJT ^TSfffT vr ^^jSt fafw«f<T II

(She pours forth sighs &e., seo §147, a).

Text.

No. 616.

Lucidness.

immediately,

Luciduess is included under the merit named by m
Perspicuity, for luciduess of words is no
other than their convoying the meaning

Commentary.

a. Examples are obvious.

Text.

No. 617. Elegance and Softness (are admitted by us) in the nega-

Eleganoe and Softness. tio “ ° f Vnl S a, ' ism C§574,*.> and Umuelo-
diousness (§574, v) respectively.

Commentary.

a. Supply 4 are admitted by us’ to complete the sentence,
i. Elegance is refinement. It consists in brilliancy of language,
contradistinguished from familiar speech and opposed to expressions
used by rustics and others.

0t Softness is the absence of harshness.

& Examples of these are obvious.

824

The Miner of Competition.

No. 618.

Evenness.

Text.

Ae for Evenness which consists in an uniformity of style,
it is sometimes a blemish. In other cases
it is to be included, according to propriety.

under the Merits specified.

Commentary.

0 . Uniformity of 6tyle is the completion of a composition in tho

Uniformity of style. soft or harsh style in which it is begun.

This is in certain cases a fault, which we

shall illustrate by an example of its contrary : —

'trrfH-* ’mg i

(It matters not that this young lion, in whose frame the limbs are
undeveloped, the fulness of whose paws and belly is unformed, can be
contained in the hand ; for the fire of universal dissolution is small in
comparison with it, when its fur$ dries up the powerfully streaming
flood of exusion of a hundred elepliauts, tho odour rising from which
is intolerable.)

Here the dropping of the soft style in the third and fourth lines
where the subject-matter is exalted, is a merit. When the case is
different from the above, i. e, where the sentiments in a single piece of
poetry do not vary as to magnificence or mildness , a consistency of style
would be included under Sweetness or Energy, as the composition is
smooth or rough. As WTTfiST (see §608, a ).

Text.

No. 619. Force or Vigour (ojas) } Perspicuity (pras/ida)^ Beauty

Merits of sense recog. Mildness (saukumdrya), and

niaed by the ancients, dis- Elegance (udarala)* recognisedby the ancients

as merits of tho sense, have* been admitted
by us, inasmuch as their contraries have been noticed as blemishes.

* These and the five discussed next, viz. Manifestation of nature (cvrtha.vyM)i
Loveliness ), Ingen ions Collocation {stesha), Consistency (samald), and
Imagination were the merits admitted by Vfaiana and others as

belonging to the sense or sentiment.

The Mirror of Composition. 325

Commentary.

a. Force consists in pregnancy of meaning ; Perspicuity is clear*
ness of sense ; Beauty is diversity of expression ; Mildness is an ab»
sence of harshness ; Elegance is freedom from rusticity. These five
excellences of sense are admitted by merely rejecting respectively the
faults, Irrelevancy (§575, <*.), Kedundancy of a word (§576, d) t
Monotony (§576, i.), Indecency of inauspiciousness (§576, h.) au<|
Eusticity (§576, «.). Illustrations are obvious.

* Text.

No. 620. Manifestation of Nature (has also been admitted) under
Manifestation of Nature the ornament of Natural Description (§7 50),
and Loveliness. and the Merit named Loveliness, under

Suggestive Poetry and Poetry of Subordinate Suggestion.

Commentary.

a. The words ‘has been admitted,’ complete the construction.
Manifestation of nature is fidelity of representation. Loveliness is
fulness of Flavour. Examples are obvious.

Text. *

No. 621. Ingenious Collocation is merely strikingness of descrip-
ingenious Collocation and tion; and Consistency again is only the
Consistency. absence of a blemish, or a negative merit.

Commentary.

0 . Ingenious Collocation is a composition consisting of a combina-
tion of krama (a succession of acts), kautilya (cunningness), anulva-
natwa (absence of extravagance) and upapatti (probability). Of these,
krama is a series of actions ; kautilya , ingenious behaviour ; anulvanatm,
an absence of far-fetched representation ; upapatti, an adjustment of
reasonable circumstances conducive to probability. A combination,
or commixturo, of these four elements forming what is termed s'lesha
produces only a striking effect, and it cannot he admitted as a particular
excellence of poetry, for it does not serve to heighten the Flavour in a
manner not common to other innumerable circumstances that may he
imagined by the poet. For example : ‘ Seeing his two dearest ones’ &o.
(§107). Here the actions are ‘ seeing’ and so forth ; the cunningness is
the paying attention to both ; an absence of extravagance consists here in
the natural behaviour ; the circumstances conducive to probability are

826

The Mirror of Composition.

expressed in the words 4 seated together/ ‘having approached from
behind/ ‘ having closed the eyes/ and 4 gently turning his neck.* In-
asrauch as in this combination, the reader’s attention is engrossed in
apprehending the probable circumstances mentioned, the tasting of the
flavor is postponed in some measure, and consequently there is no
positive merit.

% h . Consistency is an absence of incongruity in the meaning of
the whole, by non-violation of uniformity in respect of the gram-
matical radicals and suffixes employed, and this is a mere abseiJce of
the fault termed Violation of Uniformity (§575. hh .) Exemplifica-
tion is superfluous.

Text,

No. 622. Nor is Imagination (mnddhi)

Imagination. „ , . '

w a Merit.

Commentary.

a. Imagination consists in the conceiving of a new thought ( ayon -
yarihd) or of a thought based upon that of another poet {anyachchhaya-
yonyartha). An original thoi!§ht is exemplified in 4 The orange vicing
with the chin of a drunken barbarian {huna) just shaven/ A thought
based upon that of another is illustrated in the following couplet:

4 The fair gatherer of flowers oft deceived by the reflection of .her
own eyes in the water, hesitates to extend her hand even to the real
blue lotus/

In this example, the trite comparison of eyes to the blue lotus is ex*
pressed by a peculiarly striking circumstance. This twofold Imagination ,
inasmuch as it gives rise to no peculiar beauty, is no Merit, but simply
serves to sustain the poetical character* of the composition.

1. In some cases, where a single object, for instance, the moon is

, „ . to be spoken of, it is represented peri-

Pcriphrasis and Concise- . „

ness, Amplification and phrastically as ‘the light which spran 0

Condensation, defined. f rom Atri’s e yes/ In other instances

where the meaning of a whole sentence is to be expressed, as i a lady

whose tender limbs are cool in summer and warm in winter/ it 18

conveyed by a single term vara-varnint . In other cases, where the

* Lit. composes the mere body of the poetry, viz. words and sense, relish
being the soul.

The Mirror of Composition. 327

meaning of a single sentence is enounced in several sentences by
inserting (qualifications, there is Amplification {yyasi x) ; where the
meaning of several sentences is expressed by a singltsentence, there
is Condensation (satntisa) Thescf and other excellences mentioned
by other authors are not properly speaking merits, but merelyaninis-
ter to striking effect.

Text.

N*. 623. Therefore the Merits of sense are not distinct.

Commentary.

a. ‘ Therefore,’ for the reasons above mentioned. f Merits of sense,*
i. e. Forcflland the rest, discussed above (§ 619).

So much for the ' Discussion of Merits’ the eighth chapter of the
Mirror or Composition.

* Amplification and Condensation are exemplified by the scholiast in the
following two stanzas respectively :

VJT ^TTVn^lTT wfir

NT NT MNfvr ir WINN ^ WrC I

34**1114' *r v " 5 ^ w ^ «

Num«n NtNT *r (Mahdbhdrata.)

These latter verses I insert here the more, as they show that the Indian law-
givers had not a distant perception, as Prof. Max Muller supposes, of tho
truth of the maxim 4 Do to others as ye would that others should do to you/
hut that they were aware that it forms the essence, the sum-total, the sarvaswa,
of all our duties to our neighbours.

t These four peculiarities of expression, says the commentator, were recog-
uised by the anoients under the title ojas (force or vigour) which was one of
the merits of sense (see § 619).

828

The Mirror of Composition .

Chapter IX.

The Discrimination of Style .

a . " Here the author, postponing the description of Ornaments
which come next in the order of enumeration (see § 5), as requiring
a detailed treatment, proceeds to describe Style.

Style defined.

Text.

No. 624. Style is an arrangement of
words, auxiliary to Flavour, &c., as the
conformation of the body is to the soul.

Commentary.

a. ‘ To Flavour^c.’ which are the soul of poetry, while the words
and the meaning are its body.

Text.

No. 625. Of this, there are four varieties, viz . the Vaidarbhi, tlio
Gauiji, the Pancliali, and the Lati, preva-
lent respectively in Vidarbka , Gauda } Pan -

chdla and Lata .

* Its four varieties.

Commentary.

a. ‘ Of this’ i . e. of Style. Among these varieties

rr ♦

Text.

The Vaidarbhi style de- No. 626. A dulcet composition with let-
ters manifesting Sweetness (§ 606), with
few or no compounds, is designated the Vaidarbhi style.

Commentary.

a. For example — (see § 608 a.)

b . But Rudrata says : ( The Vaidarbhi contains no compounds

or hut few, has the ten Merits, abounds in the second letter of each
series in the alphabet (viz. ■qr) > consists of letters pronounced

with little effort ; and is of easy construction.* Here the ten Merits
are those enumerated iu his system, e'lesha (compactness) and the
rest<

* ^hw^pje probably the same with those mentioned by Dantfin in ^is
'K3feyd&ri4, Chap. L sfioka, 41.

The Mirror of Composition. 829

Text.

The Qangi style defined. N °' 627 ‘ Tbe QaU ^ is a ^ and ^

composed of letters manifesting energy,

and abounding in compounds.

Commentaht.

a . For example : (see § 598 a.)

1. But Purushottama says : 4 A style comprising numerous com-
pounds and consisting of letters pronounced with, vigorous effort is
termed the Gau<Ji; as also a composition of languid sentences,*
dependent upon a profusion of alliteration.’

♦ Text.

No. 628. A composition, comprising other letters than those of

The Panchali style de- two (foregoing) styles, and containing
fined * compounds of five or six words, is held the

Panchalika.

* The original has qpg JjfTWTW ^ which Premachandra

* ^

in his commentary on the Kdvyddarsa, reads-— overlooking this!

second peculiarity of the Gaudi style. My translation is according to the
interpretation of Ramachandra the commentator of the present work. He
cites the authority of the K6vyadarsa itself —

H The compact style is one untouched by languidness ; a languid style being
composed of syllables pronounced with little effort as, (to give Pope’s ex.
ample, though harsh enough, judged by the Sanskrit standard) —

* The line too labours and the words move slow.’

Or, * That like a wounded snake drags its slow length along. 1

Premachandra makes the epithet of and construes the example

to be one of the compact or firm style. This forced explanation is undoubtedly
a mistake as is still more clear from sbka 69th of the same work. It may
not k 0 onfc of place to remark here that A' chary a Dandiin entirely concurs in
the precept of Pope—

t And praisefthe easy vigour (s'lesha) of a line,

Where Denham’s strength and Waller’s sweetness join.*

—and that it is not too much, to suspeot that many of the songs of J ayadeva,
a ^ a mJa, would sound languid in his ear. Indeed, Dam) in is sometimes unfair*
ly opposed to the Oaudta style of composition, though he rightly condemns its

Principal faults. *

. The Mirror of Composition .

Commentary.

a. 4 Oi the two’ i , e . of the VaidarbM and the Gaudfl.
i. For example :

*wmr*raT fspfffrra^ggiii ii

(The sweet female bee, with joyous melody, softly hummed ever
and anon, — her sensibility expanded by the exuberant nectar of the
Madhavi creeper blooming in spring.)

o. But Bhoja says : A sweet and sojt style characterised by force
(ojas) and elegance (kanti), containing compounds of five or six
words, the learned designate the Fanchali ?

Text.

The Lati style defined.

chJi.

No. 629. The Lati is a style interme-
diate between the Yaidarbhi and the Pan-

CoMMENTARY.

a. For examp 1 c : —

^^twr-

(Yonder rises the cause of the expansion of the lotuses ; the new-
blown Mandara flower in the extended forest of the Eastern mountain;
the friend of the separated couple of ruddy geese sorrowing in separa-
tion ; dispelling the gloom and glowing like the middle of an angry
quadruman’s cheek.)

i. A certain authority has said : 6 The L&ti is a style agreeable
from the simplicity of its compounds, not superabundant in conjunct
lettep, and describing 1 things by a number of appropriate epithets.'
Others have said : ‘ The Gaudi is a grand composition ; the Vaidarbhi
aweet , the Panchali mixed, whilst the Lati is composed of simp 10
;#ord*?

The Mirror of Composition.

331

Text.

The modification of style. N °' 630 ’ Sometimes the style ft*
should be modified or adjusted for the sake,
of appropriateness as to the speaker and the rest.

Commentahy.

a* * The speaker and the rest:’ < The rest* refers to the subject-
matter and the particular species of poetical composition. 1 Style
&C.* — the^ et cetera includes the use of compound words and the
harsh or soft letters. $

b. Of these several cases , a modification for appropriateness as to

*the speaker is exemplified in TOTtraraftTO Here though

the subject-matter, the sound of a kettle-dr um, does not manifest anger
or the like, the style &c., are lofty, the haughty Blnuiasena being the
speaker.

c. For appropriateness as to the subject-matter, as in the verses
already cited — &c.

d. An adjustment of diction suitable to the species of Composition ;
as, in the drama, compound words, for instance, are not used even
where the sentiment is lofty as %i the Furious Flavour, for they are
unfavourable to acting, being hard to articulate as well as to under-

7en{ Sa * hdr *

The reader will observe that our author rather hastily thinks that the style
of these verses corresponds to the haughtiness of the speaker rather than to
the loftiness of the thought. The following is a translation :

Who is it that thus beats the kettledrum, the sound whereof is so akin to
the resonance of my own leonine roar j— which seems as if it were an ominous
whirlwind foreboding the destruction of the hundred Kauravas and the
harbinger of the wrath of Draupadi j —which, at these violent strokes, imitate*
the fierce rattle of*heavy thunder-clouds clashing against each other, and is
grave again like the sound emitted by the Mandara mountain whirled in the
churning of the ocean, as its waters rushed into its hollow caves.

332

The Mirror of Composition .

stand . Similarly, in the Akhyayika (§ 568) sm^th letters, for
instance, are not to be profusely introduced even where the Flavour
is Erotic, and in $ie Katha (§ 567) they ought not to be too rough
even when the Flavour is Furious. Thus other particulars are to
be understood.

So much for the * Discrimination of Style,’ the ninth chapter of the
Mirror of Composition.

The Mitror of Composition*

333

Chapter X.

The Declaration of Ornaments .

He now declares the Ornaments, the occasion for treating of them
having arrived, after the discourse on Faults , Excellences and_ Styles,
the other accompaniments of Poetry.

Text.

No. 3<61. Those non-permanent attributes of a word and its sense,

• . , ~ , that add to their beauty and aid the flavour

Ornament denned. J

or the like * are styled Ornaments, being
like bracelets and the like, that adorn the human form .

Commentary.

aP As bracelets and the like, by promoting the beauty of the
person, advantage the man, so Alliteration, Simile and other figures,
which, by adding to the beauty of word and sense, serve to aid the
flavour or the like, are termed Ornaments.

b . ‘ Non-permanent’— i. e. their (the ornaments') presence is
not necessary like that of th#excellencies, or the merits of Sweetness,
Energy, and Perspicuity (see (Chapter VIII).

c. Since of a word and its sense, the word becomes first the ob jet
of apprehension^ and then the sense t it is proper to speak first of the
ornaments of word ; and the semblance of Tautology, though an orna-
ment of word and sense, being by the ancients defined among
ornaments of word, he declares first.

Text.

No. 632. What at first sight appears to be the repetition of a sense,

Semblance of Tautology. is called the Semblance of Tautology, f
and this consists in the use of different

words of the same apparent import .

* ‘The like* annas op all those sentiments that excite poetical delight,
though they are not fully developed, from the want of some of its requisites
into Flavour or Relish properly so called. See pp. 39 and 132.

t Or Paronomasia of Synonyms.

834

The Mirror of Composition.

Commentary.

a. This is an exlfnple : —

sw’wfq faq: u

(He who has a serpent for his earring, on whose head is manifest
the moon with the camphor-white rays, may the heart-ravishing S'iva
ever preserve the worlds !)

Here the compounded words for example, seeming

How it belongs to both at first sight loth to mean a serpent, bear
word and sense. the appearance of being tautological, "but

afterwards they come to convey a distinct sense, viz., * one who
wears a serpent for an earring.’ In qTUT^qTTff the ornament consists
in the seeming tautology of an action, for the seeming verb UTOTtr
terminates in being recognized as the qf having coqksced

in sandhi, or combination , with the q(T of Of the words

the former only admits of beiijg exchanged for a synonym; of
f»rq: the latter only, and both of ■JtfvTO'STO. In the sentence
wfir SWc*IT OT: # * (A mountain shines by never bowing),’
neither of the seeming words and WfTJU can be exchanged.
Thus the figure in question is an ornament both of word and sense,
inasmuch as it can partially endure an exchange of words.

Text.

Alliteration No. 633. A similarity of sounds, not-

withstanding a difference in the vowels, is
what is called Annprasa, or Alliteration.

Commentary.

o. A similarity in mere vowels, not being striking, is not counted 4
an embellishment.

b, Anuprasa (gnu + pra + dsa from as to throw) means etymologi-
cally) ft throwing or sotting together of words in an excellent manner
favourably to flavour.

Wrongly divided in Boer’s edition— wrfjf if fJJTJl!

The Mirror of Composition .

335

TEXT.

No. 634 The Chheka, or Single Alli-
teration, is a similarity occurring once and
in more than one way among a collection of consonants.

Single Alliteration.

Commentary.

a. The Chheka — L e> the Chhekanuprasa.

5. 4 In more then one way' — i. e. both in the nature of the sound
and in the order of their succession . The similarity, for instance, in
KQt STO* with a difference of order is not the subject of this ornament.

c. This is an example of my revered father’s : —

. ^ wrenr i

(Wafting the perfumes of the Vakula,* intoxicating the bees at
every step, here blows softly and slowly the purifying breeze from
the holy waters of the Kaveii).

Tfcere is here the recurrence of two combined consonants in
of two separate in and of many, in

d. 4 Chheka* means skilful, and^Ss being used by them, this figure
is called the Chhekanuprasa, or the 1 Alliteration of the skilful.*

Text.

No. 635. Similarity among a number of consononts in one way

__ , or that occurring more than once (which

Harmomous Alliteration.

distinguishes it from the above ornament)
and in more than one way, or the same single consonant recurring
even once is termed Vrittyanuprasa, or Harmonious Alliteration.

Commentary.

a . ‘In one way’ — i. e, in nature only and not in order too. 4 In
more than one way’ — i. e . in order as well as in nature. In the ex-
pression 4 even once’ by the word * even 5 is implied 1 also more than
once if possible.’

b. The following is an example : —

*TWTT: #

■ • Mimusops Elongi. TFiZsoa.

386

The Mirror of Composition .

(Hardly and with difficulty are passed these days by the wander-
ing lovers, enjoying the fancied bliss of the company of their sweet-
hearts obtained but in the transient moments of mediative vision—
these vernal days when the ear is tormented with the sweet confusion
of the warbles of feoldlas sporting on the mango sprays, which are
shaken by bees allured by the scent of the overflowing honey).

In this example the two (x) and (*) are similar in one way only,
their order not being the same, In the second line of the stanza the
consonants qr and recur more than once and in the same order ; ,
in the first line the letter ?r recurs once and ^ moro than once.

c % An arrangement of letters ministering to the heightening of
flavour is termed i vrittr {i e . stylo adapted to the sentiment) and the
present ornament Is called i Yrittyanuprasa’ since it consists in an
excellent disposition of words in conformity with that arrangement*

Text.

No. 636. When there is a similarity among consonants alone, as

. being pronounced by the same organ of

Melodious Alliteration. 01 . t . -

speech*#uch as tm palate, the teeth or the

like, this is styled S'rutyanuprasa. or Melodious Alliteration.

CoMMENTAllY.

a . For example : —

sire *it: |

IW II

(Them who with a look recall to, life the mind-born god who was
burnt by a look — we glorify the fair-eyed women the conquerors of
the fierce*eyed divinity Siva).

Here, in the words sffaqfwi and the consonants sr

and H being uttered from the same part of the mouthy viz., the
palate, are similar. Similarly might it be exemplified of the
gtittuvals, dentals, &c. And this is named S rutyanuprasa because
of its being extremely delightful to tlfo ear (shuti) of the man of
taste.

. V Text.

No. 637. If a consonant, its predicament unaltered, together uith
lii&l" Alliteratjob or the foregoing vowel, is repeated at the : end
Rhyme.* 1 . 5 V of word* or line*, it is termed Antyanu-

pijp, or filial Alliteration.

$37

The Mirror of Competition .

* COMMENTARY.

a. * Its predicament unaltered’ — i. e. joined, as the case may be,
with an anuswara, visarga, vowel or another consonant.

h. And this figure is generally to be used at the end of verses
or of words. Coming at the end of verses, this is illustrated in
tie following stanza of mine : —

«r vr: n

(The hair bears sthe appearance of a bunch of the K&sa grass r*
the body, bent doion and hunch-backed, displays the beauty of a
young camel’s frame : the eyes are facsimiles of a burnt cowri :
yet the heart quits not its exorbitant desires.)

c. Coming at the end of words, this figure is instanced in

(Sweetly smiling, with their hairs erect with joy, &c )

■ft Text.

No. 638. A repetition of sound*and sense when there is a differ-

Latanuprfisa. ence in the mere purport, is spoken of as the

Lat&nuprasa.

Commentary.

a. For example

far fWlfaw i
tot fsrfwr*^' qnwwr 11

(Why hast thou*closed thine eyes, fair lady with eyes like the
smiling lotus ? Behold thy love who surpasses Cupid, by Cupid
brought to subjection.)

Here though the meanings of the case-endings of the repeated
words are different, yet the more important ideas of the concrete
objects, conveyed by their crude portions, are the same, hence there is
*here a case of the L&tanuprasa.

b. Iu the example — “ His eyes are eyes indeed ip whose pre-
sence will be this fair-faced one," the second ‘ eyes’ diffemin meaning
simply iu being designed to imply a possession of such attributes
88 good fortune or the like. This, then , is also an instance of the

• jSacobarum spontanoum, Wilson*

838 The Mirror of Composition.

same ornament though assuming here the Character of what , in Greet
Rhetoric , is designated Ploke, 7tX6ktj.

c . Or to take another example: —

TO 1

TO ^ T II

(To him who has not his love by him, the cool-beamed moon
is a conflagration, and to him who has his love by him a confla-
gration is the cool-beamed moon.)

In this example we have a repetition of many words.

d . This figure is termed Latanuprasa from its being generally
liked by the people of the country Lata *

Text.

No, 639. Anuprasa (Alliteration) then is fivefold*

Commentary.

a. The text is clear.

Text.

No. 640. The repetition, in the same order, of a collection of

The Yamaha. vowels and consonants, the sense, where there is
one, being different, is styled Yamaha, or Rhyme.

Commentary.

a. In this ornament both the sounds repeated are sometimes
significant and sometimes meaningless ) sometimes one of them has
a meaning and the other, none: hence is the clause * where there
is one’ inserted in the text. 4 In the same order' — this implies that
such repetitions as have no connection with the present

figure .

h. And this figure, consisting of the repetition of a word, a
line, a half stanza and a stanza is abundantly divisable, because of
the numerous ways in which the repetition of a word &c., may he
made.

c . A pajt only is exemplified as follows : —

lOTHTC* ft

The tipper part of the Dekhin, Lit or Lariee . Wilson,

The Mirror of Composition. 839

s (He saw before him the spring, fragrant with an exuberance of
flowers, under whose influence the Palas'a* forest had assumed a
fresh foliage, the lotus was filled with manifest pollen and the ten-
der ends of plants were fading).

Here we have the repetition of words. In tr^mt tP3T?t as also in
both the sounds repeated are significant, in
the former is meaningless ; in tprjjr rrrr* the latter bears no
tense. Similarly might the otlqp cases be exemplified.

d. According to the rule, viz., “ * and *f, sr and *r and X are
to be held the same letter in the Rhyme or the like,’’ thero is no
violation of this figure in this verse of Kalidasa X5RTfTT ^nrrmni^rr-
STfr: l

Text.

No. 641. When one construes a speech of another in a sense dif-

Crooked Speech. ferent from what is intended, by a Paronomasia
or a change of voice, it is termed Vakrokti or the Crooked Speech,
and is twofold according at it is founded on the one or the other.

Commentary.

a. ‘ Twofold’ as being Paronomastic Crooked Speech and Accen-
tual Crooked Speech.

l>. For examples of these two kinds in their order .

xx*— ‘ran fajwxx*’

©v

‘fiif fww w xrfxqffr gsT xfx’ t
‘*TXT xx’-xxr

“ Who are you V— playing upon the word m which means water
also, the addressees reply — * Forsooth, we are on the grouud just
now.’ ‘Nay my question is touching the particularity (vis'esha of
your caste or country? 4 What says the bird (vi) or tho lord of the
serpents ( s' esha ) on whom Vishnu is sleeping 4 You are perverse
%{vdm &) — 4 Alia, how fond is cupid of deluding people— this man,
robbed of nil discrimination, mistakes us men for women ( vdmd ) /”

Here in the word vis 'esha there is a 4 Paronomasia with division/
as vis f esha } divided Into w end s 'esha comes to bo connected with the
# Butea frondosa. Wilson ,

340 The Mirror of Competition,

two meanings of ‘ bird* and 1 serpent.’ In the other instances there
is that * withont division.’

“ In the season noisy with the Kokila’s warbles and delightful with
the blooming mango plants, her heart grieves not (na duyate) to
have abandoned her offending lover."

• Here the negative (m) used in the sense of deniaj by one of the
fair friends of the lady, is by another constructed into an affirmative
signification through an interrogate change of voice, thus—

* Grieves not her heart ? — it dobs.’

Text.

No. 642. When a sentence is formed of words which are the s*ame
Ling uiatio Same- * n a variety of tongues, it is named Bh&shasama,
ne88, or Linguistic Sameness.

Commentary.
a. For instance this stanza of mine : —

nsraroftMlr fawTWwWft i

ft wife ftranfe vlx ^ JPrerwfllTii

(Host thou, fair friend, take no delight now in the charming anklet
of gems sounding with deep melody, in the border of the pleasure-
lake, in thy fondled parrot, or in the gentle breeze wafting the per-
fume of sandal ?)

This stanza is the same in the Sanskrit, Prakrit, S'auraseni, Prd-
chi, Avanti, Nagara, and Apabhrans'a, tongues,
h. In such a sentence, however, as “ Sarasara kaina kawam”
(Sweet is the poem of the poet), though the word tarasam is the
same in Sanskrit and Prakrit, it is no ornament, for the sameness
does not pervade the whole sentence and is therefore not striking.

Text.

No. 643, When more than one sense is conveyed by distinct
Paronomasia or words coalescing into identity, it is termed!
Coalescence. Paronomasia Or Coalescence (S'lesha.) And

thiji is eightfold according to the coalescence of Letters, Affixes,
Inflected Words, Inflections, NamberB and

TongweA* “

The Mirror oj

841

Commentary.

a , For examples in their order : —

jfiifp&unniJiiT f% ftvr fro*rai$fir w a nw ri i

— ^

[When Fate (or the moon) stands in opposition, an abundance of-
resources beelines fruitless : the Lord of day while falling, could
not be held up by a thousand rays.]

Here in vidhau there is a coalescence pf the letters i and u of the
words vtdhi (fate) and vidhu (moon), these letters being changed
into au in the locative.

b . fircv |

vrwi w ** il

(The beams of the moon, the breeze of the Southern quarter — all
shed ambrosia to those who are seated in the lap of their beloved.)

We have here the coalescence of the Jcwip and ka Affixes* in su-
dhdJcifah (ambrosia-shedding), Icirah as plural being formed by the
addition of the former to the verf/jg root Jcri } and , as singular y by that
of the latter . Besides, there is also here a coalescence of numbers
from the singular and plural numbers assuming the same form in
sarvaf and sudhdkirah .

e . cr®rr wmv i

(Those charmingly bright and tremulous eyes of the slender-
bodied lady that shine like blue lotuses; and those breasts with the
bright and tremulous necklace — may they ever be a source of delight
to thee !)

Here we have a coalescence of the neuter and feminine genders in
the epithet lasat-tarali-Mrint winch, As neuter dual, applies to vika-
tan-netra-nilabje (eyes shining like blue lotuses) ; and, as feminine
singular, to stanadwayi (couple of breasts). There is also a coales-
cence of numbers in the said word and dattam, which latter in the
u Par amat-pada" is the dual imperative of da (to give), and , in the
u Atmane-padaF the singular imperative of the same verb

* Both of these form p&riicipal adjectives. m .

t Sarve (plrultl) and scm^ah (singular) coalesce into sctrra before ova, ao*
cording to the mles of 1 Sandhi’.

342 The J/iV#r of Composition .

d. nrwfa ^ wf?r 1

(This prince will carry all scriptures in his heart and expound
them to the wise, will give strength to liis friends and destroy the
power of his foes.)

Here we have a coalescence of the bases vak (tajeut) and vach
(to tell or expound) in vahhyati , and of krit (to cut) and kfi (to do)
in sdmarthyakrU (creator, or destroyer of strength.)

e. swwxTTPi \

Uwswwwri *rof<T TJKWJ

v»

jjj, 9

(Out houses, 0 king, are now literally alike — mine filled with the
distressful cries of children, thine with vessels of massive gold : mine
with the whole family lying on the ground, thine with unnumbered
attendants decorated ; mine with holes filled with heaps of dust,
thine thronged with majestic elephants.)

Here there is a coalescence of inflected words ( padaj , not of
mere bases, for when the compounds #0 analysed in relation to either
of the two meanings, the inflections and coin position (samhsa) in each
compound are, in the case of one sense, different from those in the case
of the other : that is to say, not only do different bases coalesce into iden-
tity hut different case-endings and different varieties of Composition.*

f. And .so —

ajrit 11

[Her eyes are like lotuses full grown in water, agitated by greedy
swarms of bees ; or (as the same words import) they are like the
eyes of wild deer, overwhelmed with a multitude of arrows shot by
the eager hunters.]

Here, although there is a coalescence in the words luhdha (greedy
or hunter) and s'ilmukha (bee or arrow), there is admitted the coales-
cence of bases only, because of the sameness of the inflections in
either of the coalescent wordp. Otherwise, i. e. if we do not recognize
a coaleamce of base* in such cases as this , we should have to hold a
coalescence of inflected words in every case.

for instance, th^Bahuvrfhi and Tatpuruaha in prithukfataswarapdtram.

# The Birger of Corhpsition. 343

ff. * ** r Knr^;ww:s i

*r%wK^r»B^rr«nf% nvjwwwirii

[0 Hara (Siva) thou art my all, and busy art thou in liberating
all creatures from this miserable mundane existence j and thou mani-
festest thyself in a corporeal form, the very presence of virtue and
beneficence.*].

Here in the case of one sense, * Hara' is an address of S'iva and
the inflection is nominal ; in the other case it is formed from the root
hri (to plunder) by a verbal inflection. So there is here a coalescence
of inflections ; similarly in bhava &c. And this sort, though in-
cluded under the coalescence of affixes, is separately mentioned from
its peculiar strikingness, arising from the circumstance of Tts belong-
ing to inflected fjg^ms of nouns and verbs which cannot be obtained
by the addition of other affixes than those that take the name of in-
fection.

'sx isijTur ri ^ it

♦

(0 thou Light- best owing Uma, foster in me that fondness for the
acquirement of knowledge, wished for even by the gods, and destroy
that mental delusion that, on every occasion, creeps through many
an object.)

As Mah&rashtri this is turned into Sanskrit thus : —

*nsi wflnrstramr *rs i

(Give me, 0 c&nsort of S'iva, a love oi virtue and destroy our fond-
ness for the world that is born of ignorance. Thou art my refuge,
0 goddess ! May my mental darkness be at once removed !)

Here there is a coalescence of the two distinct tongues, Sanskrit
and Mahdraslitri.

* For men are thus enabled to purify themselves by contemplating thee,
Who in thy true spiritual nature art beyond human conception. The follow-
ln S> amiable adviwe of a demon to his son is the other import of the stanza l—

** Plunder thou the whole property of all, let murder be thy chief business,
drive off beuevotencefrom thy presence and carry on a trade ofperpetotaJ

persecution*.?

344 The fflit.tr of Composition.

Ttxi.

No. 644. This (Paronomasia), again, is threefold viz., (1) that

The three sorts * with division,’ (2) ‘ without division’ and (3)
of Paronomasia. consisting of both these sorts combined.

Commentary.

a. These three divisions are to be recognized, according to pro-
priety, under the said eight varieties. Or we may exemplify the first
two torts in the following stanza : —

STOTSWUerFSTCUircT JITtW I

vfH ww wtotwci*

(May the Lord of Uma ever preserve thee#-He who destroyed
the demon Andhaka and the deity of love, who of old made a wea-
pon of Vishnu’s body, who wears huge serpents for his necklace and
bracelets, who bore on his head Ganga descending from the heavens,
whose head the deities declare ornamented with the moon and whose
Adorable name they celebrate as ' Hara.’)*

Here there is a * coalescence with division’ in yena dhwastamanobha •
nena (which, in the case of the other sense, is to be differently divi-
ded thus — yena dhwastam anah abhavena) ; and one ‘ without division’
in Andhaka-kskaya-karah. The third variety consisting of those
‘with division’ and ‘ without division’ — for these may be combined
in the same instance— is not separately exemplified, for fear of swell-
ing the work.

b. Here dbme say — “ the only case of the Paronomasia of words is
the ‘ Paronomasia with division’ wherein two words that are distinct,
as hnin g pronounced by distinct efforts through a difference of accent
in the shape of the acute or the like, coalesce in analogy to the lac
and wood. Whilst that * without division’ is no other than a Paro-
nomasia of Sense. In this the meanings coalesce, or are bound
together, analogously to a couple of fruits supported by the same
footstalk; for the word, in relation to loth the senses, is one and the
w»iw ^y heing pronounccd by one and the same effort from the

• A simitar jppnqfwntation of Vishnu ia the other import,, which need not be
rendered herb.**

TfoMirrwtfQ 845

, . ” .?

identity of the accent. And our opinion that these tw6 kinds, with

and without division^ are Paronomasia respectively of word and sensf
is reasonable indeed, for an ornament is the ornament of what it ip
set or founded on : the ornamented and the ornament being reoogr
.nized, as in every, day life, as the place and what is. placed.”

c . This others do not admit. For. here, m the province of poetical
criticism , the division of Suggestion, Subordinate Suggestion (see
Chap. IV), Faults, Excellences and Ornaments as belonging to a
word or sense is regulated by their conformity with the. word. or
sense in their presence and absence, or , in other words y ly the
circumstance of their appearing and disappearing with the word or
sense. Nor is the word Andhaka^ for instance, in Andhdka-kshctya *
Jcarah * identical in conveying the two meanings of the demon so called
and the Yddava family , for it is a maxim that a word differs from a
difference of sense. Besides, since in the case of a 4 Paronomasia
without division * it is the word that is suggested by. the poet’e genius
as the principal means of producing a striking effect, it is no othe£*
than an ornament of word. And this strikingness is wanting, in a
composition of two dissimilar words, and it is the strikingness that is
reckoned as an embellishment. If the figure in question be held an or-
nament of sense because of its having an eye to the sense, then even
such ornaments as Alliteration and the like would have to bp
ranked as ornaments of sense, for they too, as being intended for
the heightening of the flavour, look to the sense. If you count it an
ornament of sense, from the word’s being pronounced by one and the
same effort, then in such a case as ' prat ikidatamupag ate hi vidhau?
(see §. 643 a) you would be forced to admit an ornament of sense
notwithstanding the difference of words. Hence both the cases of
Paronomasia , with and without division , must be classed as ornament^
of word.

d. Where, however, the Paronomasia is not destroyed even by
an exchange of words, there it is a case of Paronomasia of sense ;
as—

“From a slight. cause they rise and from a slight cause they fall :
0 how exactl^ muiilay are the conditions of the wicked and the

extremity c| a

♦ See ’the foregoing Example.

e* It is the opinion of some that since this figure (Paronomasia)
cannot have a subject distinct from that of other ornaments, and
Bince the ornaments co-existing with it, mentioned as they are by the
sage afterwards, frustrate or nullify it, it is to be recognized as the
means of the perception of those ornaments. The point is thus
discussed by them : In such an ornament as the Modal Metaphor
(see § 70S) or Indirect Description (see § 706), the second sense not
being intended to be expressed but to be suggested, there is not even a
shadow of Paronomasia. Even in such a Paronomastic Metaphor as
that in the expression Vidvanmdnasa-kansa (Thou swan of that
Mfinasa lake — the mind of the learned) though the word m&nasa bears
the meanings both of mind and tha lake so named, the Paronomasia is
nullified by the Metaphor, for the sense of the lake being what the
word m&nasa ultimately terminates in is the principal signification :
and in Paronomasia both the meanings have an equal prominence.
In such a Semblance of Contradiction as that in “ Sannihita-bdlan-
dhak&ra bhdsvanmurtih }i (She of the radiant form accompanied with
the darkness of the hair ; or, she of the solar form accompanied with
new-born darkness) there is no Paronomasia, for the incongruous
sense which is just perceived is not fully developed. So in the
Semblance of Tautology (§ 632). Now the above ornaments being
dismissed as not properly co-existent with Paronomasia , we arrive at
certain others which do co-exist with it. For example : The figure
Equal Pairing* (see § 695) does exist in “ Yena dhavastamanolhavena”
&c. (§ 644. a) and * { Nitandm” &c. (§ 643, /), as with the same
facts (viz. ( preserving thee* and 1 resembling the eyes,’ respectively)
are associated two distinct representations both connected with the
subject* matter in the one case, and both unconnected with the subject-
matter in the other.

tftfn wfanffa i

mt TOsffoiw wTOjff* H

* This and some other renderings of names of Indian figures of speech
1 hire adopted, from Mr. Griffith’s paper on “ the Figures of Indian Poetical
Bhetorid a§ .jftoftated in the Bhatti Kavya” appended Go his ' Specimens of
i|d Indian Poetry.*

The Mirror of Composition* 847

M* The God of the flowery shafts and the master with a little mind
are equally troublesome. The one , while he himself has made
a person the object of desire , goes not to him to speak in behalf of the
party inflamed by him } nay torments him with hundreds of arrows,
perhaps in envy, of his body — himself having none f nor stops here y
but distracts him and untimely wrests his life. The other , while his
will can command all wealth, is never disposed to say ‘give,’ and
gives only pain on a hundred importunities, and under a mental
delusion or groundless suspicion violently deprives men of their
lives.” *

Here we have the ornament called Illuminator (see § 696), since
two persons, one (Kama) not collected with the subject-matter, the
other (a little-minded master) connected with it, are associated with
attributes verbally the same. In such an example as a Sakalakalam
purametajjdtam samprati sudhans'u-vimbam” (The city with its tumul-
tuous noise, — or as the same words import — full in all its digits,
has now become the lunar orb) there exists the ornament of Simile.
Now as Paronomasia cannot possibly exist apart from one of these
j -figures and as these may exist apart from Paronomasia, and since the
latter co-existing as it does with some of these figures , is felt to have
a stronger strikingness, such cases properly go under the designation
of Paronomasia, otherwise the designation would be altogether abol*
ished.

/. To this we say : It is not true that Paronomasia has not a
province distinct from that of other ornaments. *For in “ Tena
dhvasta ” &o. (§ 644 a.) it has a distinct subject, the figure of Equal
Pairing (§ 695) in which both the senses are not, as a rule, intended
to be expressed, having no place in it. Now, for the sake of including
the Equal Pairing in 4he present example , if it be determined that of
the two deities represented, Madhava and Umadhava, only one is
intended to be actually mentioned, the other would needs have to
be held as hinted at, and thus it would no longer be a case of Paronoma-
sia/* Moreover in the Equal Pairing a single attribute only is
apprehended &s connected with more than one subject, whilst here
more them qhe sdhject is apprehended as associated with distinct

enee of the two meanings being its condition.

$48 vf5fe

attributes. Nor iu suoh a case as {i 8akala fyc” (§ *.) is the Paro-
nomasia the source of the apprehension of the simile, for on this sup-
position, the Compiete Simile (§ 648) wouldbewithoutasubject. Should
you say there is such a subject of the Complete Simile as * this face is
charming like the lotus/ 1 would reply — no, for if in ‘ Sakala frcS there
is.no real simile because there is a Paronomasia of words, what fault has
the Paronomasia of sense committed in such an-expression as ‘charming’*
<80 as not to preclude > in this case too , a recognition of the simile . The
truth is that a verbal resemblance as well as one of quality or action may
be the basis of a simile according to the direction of Rudrata : * The
Simile and the Conjunction (see § 739) are botlfclearly ornaments of
Sense but they may also be founded on a mere verbal resemblance,’

g . 1 But then/ our opponent might further object, ‘ a sameness

©f quality or action alone is the proper basis of a simile, the resem-
blance in such a case being real ; whilst a verbal sameness is not a
reasonable support for the ornament, the resemblace here being unreal.
Consequently the sameness of quality or action alone, not a verbal
resemblance as in “ Sakala &c is the proper subject of the Com-
plete Simile, the Paronomasia of sense being set aside from such
cases and virtually from all cases , seeing that otherwise there would
be no room for the Complete Simile.’

A. I would again reply : No; for the unqualified definition of a
Similitude that it is a community of attribute or circumstance is not
exclusive of verbal sameness. And if in a case of verbal sameness
the community, hot being real, does not produce a Simile, then how
in such an expression as “ Vidvanmanasa r) (§ e.) f does the attribu-
tion of the nature of a lake to the mind (figured as a place) founded
merely on the verbal identity of a mdnasa ” (mind) and “ mdnasa"
( the lake Mdnasa) , become the occasion for the metaphor in the shape
of ascribing the nature of a swan to the king? Moreover if the
simile is to be admitted only in the case of a real resemblance, then
why do you too recognize a Frustrated Simile in such a case as

* The redder must note a nice distinction here, before he can understand
the passage. /The oh^rmiugness of the face and that of the lotus are not
one, nor fefep/pkaqtly similar, but are identified, by a paronomasia of sense,
a point*©! resemblance, in the comparison of the two objects.

The MirrorofComposition, 849

Sabah $c.' (§ e) ? Further it is the Paronomasia that sustains the
similitude, not that the similitude sustains the Paronomasia, for the
similitude is impossible prior to the Paronomastic composition. ■ So
it is proper that the ornament recognized or marked out in such
cases be,the simile, which is the principal, — according to the maxim
that designations are made after what is chief. , \

i. * But/ it might be further objected, ‘in the province of the
ornaments of word there is not admitted the Commixture (see § 757)
of figures as principal and sub-ordinate, how then is it here main-
tained in respect of the Paronomasia and Simile ?* I would reply —
no, that non-admission respects only such figures as the Alliteration
or the like, where a reference to the sense is wanting. Similarly is.
it to be understood of such ornaments as the Illuminator (§ 696) and ,
the like, when founded upon a verbal similitude , that it is these that
are the principal, the Paronomasia being subservient thereto .

j\ To anticipate an error :

fspiflfa timnyi* ii

(“The well-winged, sweet-voiced swans ( hansa ) t under the in-
fluence of the season, are now descending upon the plains, ornament-
ing the quarters, and uttering loud cries of joy,” Or “ The sons of
Dliartar&sh$va, of agreeable discourse and of proudly valiant under-
takings, who are assisted by noble partisans, who have won all the
quarters of the earth, now by fate’s command fall dead upon the
ground.”)

Here the words * dhdrtardshtrdh Sfc? being restricted to the sighi*
fication of ‘ swan’ &o. by the description of the autumn which is
in hand, the sense of f Duryodhana’ &c. is a suggestion of matter,
originating in the power of the words (see chap, VI, § 257). And
here since the second representation resulting from the present com-
position is nieant only to be hinted as the subject-matter of the drama 9
& comparison is nob intended, and so there is neither the suggestion
of a Simii^nol a Paronomasia. Thus our present subject is all clear
now .

Text.

No. 645* the letters, under a particular disposition) induce

850 &

The Fancy Ornament. the shape of the lotus &0., it is termed the
Fancy Ornament (Chitra).

Commentary.

a. By the ‘ &c.’ are implied a sword, a drum, a wheel, the Gomu*
triid * and others.

5. The letters, though striking through that particular disposition
of them in writing, being tropically identified with the vocal letters
striking by means of that particular succession in which they come in
contact with the ether of the ear, it is reckoned an ornament of word.

c» Among its many varieties, the composition of the lotus is
instanced in this couplet of mine : —

m wnn ut vm h

(May that lovely lady be mine, who equals Kama’s mother—
Lakshmi , iu beauty, who in fair radiance, excels his consort— I care
not for Fortune, no I never care for that goddess, who takes her
dwelling with the vilest rogues.)

This Composition of an octopetalous lotus has its letters, or
rather syllahles t in the primary quarters coalescent by exit and en-
trance, but not so in the secondary quarters, the syllable of the
pericarp, which is repeated eight times , being of course coalescent.f
Similarly may the composition of the sword <fec. be inferred.

* According to the 8arasvaU-Jcanthdbharana (another Rhetorical work) the
undulating flow of a cow’s mine is what is meant here.

f This requires explanation. First draw a lotus of eight petals pointing
respectively to the eight quarters. Begin with reading and writing the
first syllable j(\ ( md ) in the seed-vessel, go out into the eastern petal with
the next two syllables (rct-mdj, then enter, at its point, the south-eastern
petal, with the next two syllables (su-shaj, then come back to WT in
the seed-vessel, make your exit by the southern petal, with
return the same way, with (ru-chdj t to *TT {m&)> and so on reading two
syllable in ea<^p 0 tsi^d>nt repeating them inversely in the four primary ones
till you into the seed-vessel the tfnw

yiwtfpsrtf started from*

The Mirror of Composition. 881

Text.

No. 646. The Enigma (PrahelikA), which, being opposed to
y^ignm. flavour, is no ornament in poetry, being use-

less and ugly as a hump on the human body, ' ■
is not dwelt upon here. It consists merely in a turn of words, in
the shape of the want and addition of a syllable, &c.

Commentary.

«. The expression ‘ in the shape of the want and addition of a
syllable’ implies three varieties of the enigma, viz. (1) with a
syllable wanting, (2) with a syllable added, and (3) with a syllable
wanting and a syllable added.. For example : —

Ksrfwi urtfw* "TOWiuer I

far urrig ftimift fsrihffm ii

(The kokils warble on the mango tree, the lotus blooms in the
water: what may the fawn-eyed lady do, oppressed as she' is by
love?*)

Here ‘ sdle' being said for ‘ ras&le the syllable 1 ra’ is wanting ;

‘ yau’ is added in ‘yauvane’ which is read instead of ' vane’ ‘ ma' is
omitted and * va’ added in vadanena used in place of ‘ madanena.'

b. By the ‘ &c.’ (in the text) is meant the concealment of a
verb, a case or the like. Of these the concealment of a verb, as : —

trrmwiiri touw vroir: i

(In the midst of the assembly of the Panda vas, came Duryodhana :
to him land and gold and all ornaments.)

Here the verb ‘ aduh’ (they gave) is concealed in 1 duryodhanak'
which is to be analysed into 1 aduh yah adkanah the enigma being
explained — Any pauper ; that entered the assembly of the JPandavas, they
game him land Spo. So in the other varieties,
o- Now the Occasion having arrived for treating of the ornaments
of sense, a|d those that are founded on similitude, as being the

* Bendered aecOMtng te the riddle it would read thus : “The kokils warble
on the Soiree, ti^etus blooms in youth ; what may the fawn-eyed lady do,
distressed aaehei# hjy the fle»."

The Mrm

principal, having to be defined first, he begins with stating the or-
nament of Simile, which, even of these, forms the essence, '

Text.

No. 647. A resemblance between two things, expressed by a

Simile. . single sentence, and unaccompanied with

a contrast or difference, is termed Simile,

Commentary.

a . In the Metaphor (rupafca-~§ 669) and the like the resemblance
is suggested ; in the Dissimilitude or Contrast (§ 700) the difference
too is expressed; in the Reciprocal Simile (see § 667) there are
employed two sentences ; and in the Comparison Absolute (§ *666)
there is only one object compared, i, e.' compared to itself. Thus we
see the difference of the present Ornament.

Text.

No. 648. That is Complete, in which the common attribute, the

Simile Complete. words implying comparison, the object com*

pared and that compared to, are all expressed.

Commentary.

a. 1 That’ — i. e, the Simile. The * common attribute, * i . e. 9 the
quality or action of two objects which occasions their similitude, such
as charmingness or the like. — ‘ Words implying comparison’ such as
* iva r (as) or the like. — f The object compared, i, e, a face, for instance.
*The object compared to’ — for example, the moon.

Text.

No. 649 r . That again is Direct (s'rauti) in which the comparison is
Direct, and Indirect Si- expressed, by such words as 1 yathd,’ ‘ iva?
**M e - ‘■yd’ (all answering to the English as) or

by the affix ‘-vat* as equivalent to ‘ iva ;’ Indirect (arthi) when such
words as * tuly a* (equal) ‘ samdna ’ (like) &c,, are employed, or the affix
‘•Pat’ in the sense of * equal,?

Commentary,

a. Though the particles * yathd ’ Hva / { vd’ &o., or the English W
at r^iO^y^e^.t0 ; tfce terms ‘ tulya * (like) &c. used in the other sort of
Similej; at the very hearing con^e^^O hotion of the re-

their employ-

(Th £ \’ ., ■

Dtith is na-the-od
coititenaiice, 0

: %$lll

o«r-o/-the’T6ft»t(

««the

JcufHbMviva/ ; ?i

®d

three xariotiesQ

1 the

S5' *9$ implying, aa they do; nothing eleebnt mejfchljBi
"'j * feppaftp. Vjutenhe-wwdej;^

tbgtfherhr both), before

repeated in Dr. Bhej oi^ff

'mmaaiL

fmm-f :m&:rM

■"■ ■ 'staked-'' 11 *

(Sivijet iik«*Amb|rqKa' is lief. niild6r4ij, : kbft- Hke41jA*tOT4de^-leaf *
is ber kftiid, and her ej%s are tremulous like those of the frightened

Here the Indirect Simile, in its three kinds, is respectively ex-

emplified in ‘*u</Aa-va<,’ ‘ pallava-tulyah ? mi { ^kita^fliochan^

bhyin sadru't/;

Text.

Ot No. 660. liras tie Compkte SMI. k

Direct and Indirect Simile, sixfold.

Commentary.

o.. The text is clear.

No. 651. It is Elliptical when one, two, or three of the four
beginning with the * common attribute’ (see
wo'^tvi^oM^into ^Direct § 648) are omitted, and this also, like the
pi Indirect former (the Complete Simile) is Direct or

indirect.

Commentary.

a. ' TW— the Elliptical.— He states its varieties.

J. BAA.

No. 6§2i^ 1 This, in the omission of the attribute's like the com-
jlete, sa le thal the Direct in not possible in a nominal affix.

. Commentary. ■

0. « This’— the Elliptical Simile—, ‘ in the omission of the attri-
bute’— i.e. of the common quality or action, ‘ is like the complete,
that is to say, it is sixfold in the aforesaid manner, but the Direct no
being possible in a nominal affix, it is, in fact, fivefold.

1. For example:

TOt* W fa* > , . ,

iaqpf feve, is as the moon,; thy fond iseqfoHo the ten

ler^fry^^^ark as^ectar. thy lips

TAe Mirrw bfCoMpositim*

Simile Elliptical , omitting the sorts of the affix * kyach* respectively ap-
common ^tribute, kfly e fold. pUed in thfi Mn8e of and object>

in the affix * %an, } * and in the adverbial affix 6 namuV added in an
active or passive sense.

Commentary.

a. : i The Elliptical Simile, in the omission of the common atfcrP
bute’ — these words are to be supplied in the present text frwn ilia
t foregoing one* .

h The Jcyach 9 kyan y and namul are named yin f njyi, and nam in
the technicality of the Kalapa grammar .
c. For examples in theip order : —

t%«, swUfa *r
*TTT «R, W* ’St* I

wtOr vfjf wfw fsnrtu r

[In the battle-field thou actest as if thou wert in thy Zenana, and
Jiou treatest the people of thy city as if they were thy sons ; For-
tune behaves as a wife towards thee, and looked nw>n by thy
beloved ladies as the Nectar-beamed moon , thou walk<st upon the
earth, 0 monarch, like the Royal God (Indva) himself.]

Here th§ points of resemblance are omitted, viz . the circunillanoe
of being a place for pleasant sports, in the phrase 4 antahpuriyasif and
(the king’s) being full of loving-kindness. Similarly in the other
expressions of comparison. / ^

And in these varieties } because of the absence of the words yatW
&c., and tulya we^tave not to consider such specialities as that
of being of the |$reet sort or the like.

Some instancSfeese as cases of the omission of the affix '•vaP
expressive of cdt^rison. This is not right, for the affixes hyan &o.,
also, being addol aeitise of vat imply comparison. Nor should

it be said .that %yan &o., cannot well imply comparison,

* These two afhu # forming verbs from nouns, to iriply oomparifoii^

; ; The ^^Br%suoh expressions in English as 1 oht-hhipd.

because, as being affixes, they are not independi^tly eXpresgiye, and
suck words of companion as ‘ iva’ Ac., are not employed in these cases.
For the same might be said of the affix 1 kalpap' and others ioMeh are
Mowed to be expressive of comparison. Nor will it avail to argue that
the * kalpap ’ Ac., as being equivalent to"^»W Ac., are expressive of

comparison and that the'* kyan’ &c. are only suggestive of it, for it
is not certain that even ‘iW &e., are expressive. Or granting that
fbe ‘ kalpap* Ac., are expressive, there can be no difference between
the affixes of the ‘-vat’ class and those of the ‘ kyan’ class, according
to either of the two opinions touching affixes, viz. (1) ‘The inflected
word in its integrity is expressive,’ and (2) ‘The base and the affix
have each its own signification.’ As t to the assertion of some that
the affixes of the class of ‘-vat’ are directed hy Panini to be employed
in the sense of ‘-iva’ and the like, .^hilst ' kyan’ Ac. are, in the
meaning of ‘ behaviour’ — this too is wrong, for ‘kyan’ Ac., do not
simply imply behaviour, but similar behaviour. So the Elliptical
is thus tenfold, when the attribute is omitted.

T&xt.

No. 654. It is twofold, in the omission *
of the object compared to, — being possible
in a phrase and a compound.

COMMENTAUY.

“ Naught exists equal to her face in charmingness, or like-to-her-
eyefl.™ .

^ Here, objects answering to the face and eyes being hinted at, lot,
of course, as inferior to them in charminynesrfwQ have an instance of
the object compared to being omitted.

And in this Very stanza, on our
Instead of ‘ mukhern sadrisam' and ‘ <?r _
tulyam ,’ we should have the direct sort : thus though, the two divi-
sion^of thb'prespq.t variety being subdivisible intd the direct and the
indii|ct^we ^^i ; fpar^ sorts, yet after the manner of the ancients w«
iB^bf two sorts only ; 5

instead of ^nayana-

Simile Elliptical, twofold,
when the comparison is
omitted.

4. For example :

Text.

t It is two-fold, when the the omission of the (vot'd

rapZiMd: 18 “ 0t di8tinotly or #» expressive of comparison, it is two-
1 kurip* ii&x. * possible in a compound or the

Commentary.

a. For examples in their order

“ Hi acts the ass (gardabhati), loudly and hoarsely screaming be-
fore the great.”

§Here < kwip' expressive of comparison is omitted in ‘ gardabhati
It should not, however, be supposed that the object of comparison too
is omitted here, inasmuch as it is indicated by the expression’
‘ screaming.’

“ The face of the fawn-eyed one is moon-enchanting.” ■

Text.

It is tig-fold when the ^°* ^ ' 8 tw ®fold, in the omission

common attribute and the of th^ common attribute and the object
comparison are omitted. "’■* ^ - • - - *

and a phrase.

compared to , — being possible in a compound

Commentary.

a ' We shall have examples of those two varieties ^ our reading
* * u world’ in place of 4 in eharmingness* in the sentence beginning
‘Naught exists’ (see §654. a).

It is two-fold, when the
attribute and the word of
comparison are omitted.

a M% y or a compound..

Text.

No. 657. In the omission of the attri-
bute and the word of comparison, it is
twofold, according as it occurs in the 4 kwip*

Ips and the affix * kyan y (§ 653), whioh also ia
added trr ap wjeot <^comparigon m the nominative case, lies in the oiroupof
Btancs of the form|t l easing no sign of itself in the verb formed by its
n . as. * &e asses/ This still moro corresponds to 8$

^C0MM»NTABlr.

For example IC Her lotus-face shines like the : 1tt6onv(yi<^a«
flere m * vidhavati* there is the grammatical rejection of the
signifying comparison and ofthe point of resemhl^nce, viz.
r ph^rmmgness.’ But some, recognizing a distinct division of the
Elliptical Simile arising from the omission of an affix, instance the
tspj en t example as an illustration of the same, ( Lotus-face 1 is an
example of the present variety residing in a compound*

Text.

4 It is single, when the Ob. _ No< 658 In the omission of .whit
ject of comparison is omit- is compared; it is single, occurring in the
te ’ 'kyach' affix.

f Commentary.

a. For example : —

“With eyes flashing at the sight of the foeman’s valour, and with
his rod-like hand bristling with’ the sword, he behaves (sah%ayiulhi-
yati) t'» the battlefield as if he wielded a thousand weapons.”

Here the object compared, viz. 1 himself,’ is omitted, for the
expression 1 tahasrayudhiyati ’ is to be interpreted * behaves himself
like one with a thousand arms.’ For the reasons already stated
(§(553 e) therms no omission here of the term of comparison. Hero
some say, the Word 1 salmrayudhiyati ’ being derived from sahaerayudka,
or one associated with a thousand arms, and interpreted ‘he acts like
such a one,’ we have here the omission of the object compared, not
in the shape of ‘ himself,’ but of the particular action of the hero
which is not literally mentioned, but simply figured by the expression
* eahatroyudhiyati .’ This view of the case cannot endure a discussion,
sine? the employment of ‘ kyach’ with the nominal bate i signifying an
agent is opposed to the rule of Panini.

Text.

No. 659. We haw another sort in the
omission of the attribute and the object

Simile omitting the aitru
rate
ec£

. . . , r ■ Commentary.

a. Tor Example :—

“As thy fame is diffused, all the seas act the ocean of milk
[kshirodiyanti).”

Here ifie nominal verb ‘ UkUrodlyanti' being explained ‘they behave
ihemselves like the milky ocean,’ we have the omission of ‘ them-
ielves’ the thing compared,, and of ‘ whiteness’ the common attribute.

Text.

Simile omitting three of No. 660. When three of the four etiep,
he ingredients of com. tials of comparison (§648) are omitted^ it
* rjSon ‘ (the Elliptical) is possible in a compound.

Commentary.

a. As — “ The stag-eyed one shines.” Here the compound ‘ stag-
\yed' being explained — ‘ She whose eyes are tremulous like those of
i stag,’ there is an omission of the word expressive of comparison,
he common attribute, and the object compared to.

Text.

. No.* 661. Thus the divisions of the

Thus Snrnle is of 27 kinds.

Simile amount to twenty-seven.

Commentary.

a. The sixfold Complete and the twenty-one sorts of the Ellip-
tical, combined, make up twenty-seven kinds of the Simile.

b. Among these divisions of the Simile, he now Jl|lains a pecu-
liarity of those in which the common attribute is not omitted.

Text,

No. 662. The' common attribute, or point of resemblance, is
sometimes (generically) one and the same
the Antitype^* ^ SV ° ^ in both objects of comparison, "and

sometimes distinct. When the points -of
resemblance ar^ v distinct, they correspond to each other as the type
and the antityj^, loir they may be merely verbally different.

^ Commentary.

«. Among these cam, that where the point of resemblance is the
illustrated in the stanza beginning with
her underlip (§649 i).”

same,

5. ’ ’ The case e

following ; stansd of lh»>Ilagku-vaMa :'f- 3y? : •■./ ), J: ® •' •

“ fie covered the earth with their (the Persians’) bearded, heads,
severed by the lance, as with horfey-combs teeming with bees.”

Here the epithet ‘ bearded’ is represented by ‘teeming with bees,’
analogously to the ornament of Exemplification (Drishtanta §698).

c. When the difference lies merely in words, we have the follow-

ing example

“ The slender-bodied lady, as her eyes expanded upon me like a
full-blown blue lotus, told me the whole of the secret purpose that
lay in her heart.”

Here the ‘ expansion’ and the ‘ full -blowing’ though identical* are
expressed by a difference of words, as is the case in the Typical
Comparison (Prativastnpama — § 69V).

Text.

Partial Simile.

* expressed and implied.

No. 663. Partial Simile (shades' a-vivar-
tint upamd) is when the resemblance is

Commentary .

a . as —

“Lake-beauties, at every step, shine with blue lotuses as with eyes,
with water-lilies as with faces, and with Brahmany ducks as with
breasts.”

Here the resemblance of the eyes &c., to the blue lotus &c., is
expressed, and that of lake-beauties, or beautiful lakes, tatfcir women
is implied.

Text.

No. 664. K an object of comparison is turned, further and fur*

■ - . '.j ther, into what is compared to, it is termed

Girdle of Similes. - • ’ „ . r ’

the Girdle of Similes.

Commentary.

a: . AS in the following description of Autumn :—

■* The swan, in its white lustre, resembles the mobU ; lovely women,
in. their charming gait, resemble the swan ; the waters, in their
dellghtlsl tpuo)t, tegoihble lovely women ; and the hea-vens, in their
cJearneWl, &aoJ|hl|i|he waters.”

The Mirror of Composition. 36l

String of Similes*
sons of the same object.

Text.

No. 665. The Garland, or String of
Similes is, when we have several compari-

COMMENTARY.

а. For example : —

“ As a lake with the lotus is pleasant ; as night is delightful with
the moon ; as a fair woman, ornamented with youth, is charming ;
so Fortune attended with Virtue ravishes the heart.”

б. We sometimes find both the objects of comparison connected
with* the subject-matter as in the succeeding stanza :

“ On the arrival of Autumn, the swan shines bright like the Moon,
the waters are as clear as the heavens, and the stars glitter pure like
the water-lilies.”

c . “ Princely treasures, by princes presented, sbine in the house

of this monarch, as (those) born of the Celestial Tree, in Indra’s
palace.”

Here we have a case of the Simile ofulntimation (akshepopamd),
since by the 1 treasures,’ which are the object of comparison, are
intimated the treasures compared to, — through the expression ‘as
(those) born of the Celestial Tree.’ In this very example, since the
sense of ‘in the house’ is repeated by ‘in (Indra’s) palace/ we have
also the Simile of Repetition. These and such . others have not
been regul0y defined here , for a thousand such varieties might be
made out. v

Text.

No. 666. When the same object is in the predicament of what

„ is compared and what is compared to, that

Comparison Absolute, , f7 . . , , ..

is to say when a thing is compared to itself

it is Comparison Absolute.

; '• Commentary.

0. The comparison, as ice gather from the context, is to le expressed
by a single sentence.

For example

<l When Autumn had begun to manifest itself, the lotus blushed

like the lotus, the waters like themselves, land resembling
none but herself, beamed forth the unslumbering Moorr t ” 7
. Here the self-comparison of the lotus, &c., is figuratively intended
to intimate that they have not* their like. The province of this
ornament is distinct from the Latanupr&sa (§ 638), since, in this, we
may, without repeating the word expressive of the object of self-compari-
son, preserve the figure in the above stanza by the words — < rajivamiva
pathojam, , &c. (the lotus is like the water-born). The employment,
however, of the same word is better, as being suitable for letting one
readily understand the identity of the object . As has been said :

< In the Comparison Absolute, a sameness of terms UBed from its
expediency, is only accidental, whilst in the L$t6nuprasa it is essen-
tially necessary.*

Reciprocal Comparison,

Text.

No. 667. This when alternated between
two things is held Reciprocal Comparison.*

Commentary.

«. ‘ This* i. e. 'the pre&cament of what is compared and what

is compared to ,’ — supplied from the foregoing text .

5. This interchange of comparisons must of course be expressed by
a couple of sentences.

c. This is an example : —

u Ever, 0 king , shines thy intellect like thy fortune and thy
fortune like thy intellect, thy beauty like thy frame andphy frame
like thy beauty, thy firmness like the earth thou rulest, and this
again like thy firmness itself”

Here what is purported is that there is nothing eise equal to the
prosperity, &c., of the king.

Text.

No. 668. A recollection of an object, arising from the percep-
tion of something like to it, is termed Re-

Reminiscence, . *

mmiscence.

* The commentator adds, as a condition, the sameness of the point of reseiii-
bl&n*£ in $acb ot the ^wo comparisons involved in this figure. The following*
"for instance, if no^tain^e of it 7

vimb

The Mirm of*(hmpontion. 863

vr :*- Commentary.

а. As :~

Seeing this lotus beautiful with the sporting wagtail, I recollect
that fair face of her with the tremulous eyes.”

б. This is not the ornament in the stanza beginning *0 how
well I recollect that ever-smiling face of the lotus-eyed one* (§ 190 »,),
the recollection, here, being raised without the cognizance of resem-
blance.

c. Raghav&nanda, the great minister, however, would have the
figure of Reminiscence, even where the recollection arises from dissi-
milarity or contrast. Here follows his own example of the same

(< Whenever Sita, tender like the s'irislia flower ^ on the mountains
experienced hundreds of hardships, Rama shedding tears, called to
mind the unnumbered felicities she enjoyed at home.” 4

Text.

No. 669, The Metaphor consists in the superimposition of a '
fancied character upon an object unconceal-

Mctaphor. e( j or uncovered by negation .

Commentary.

a . By the qualification 1 fancied/ the present ornament is distin-
guished from the figure of Commutation (see § 679). This point we
will discuss when we come to speak of that ornament. — “ Unconceal-
ed,” this is for distinguishing it from the ornament of Concealment

Text.

No. 670. This is threefold, according
as it is Consequential, Entire, or Deficient,

Commentary.

a . 1 This* i. e. the Metaphor.

Of these divisions:

Text,

No. 671. The Consequential is when a superim position, undeter-

The Consequential Meta- rained by a resemblance, is tlie cause of
phor, four-fold. i ; >. another, and (1) rests, ort2) does not rest 1 ,

upon a Paronomasia. It is fourfold aS each of the two cases occurs
“"gty or serially,:

(see 8 683 and 684).

Its three varieties.

864 Thfi Mirror ffl Composition.

Commentary.

a . Of these the Single Consequential resting npon a Parono-
masia, as : —

“ Blessing to thy arm, great monarch Nrisinha, mighty controller
of the world — arm that, in war, is the Monster of Darkness (Rahu*)
to that full moon— the entire assemblage of princes hostile to thee
( Raja-mandaU) ”

Here the superimposition, viz. that of the nature of the lunar orb
upon the assemblage of priniife, by the paronomastic expression raja-
mandala } \ is the occasion of ascribing the character of Rahu to the
arm of the king.

l . The Serial Consequential resting upon a Paronomasia , as : —

“ Unique thou art, 0 king, upon the earth — the Lord of day
in causing the expansion of the lotus (with which by means of the
punj is identified ‘the acquirement of fortune’) — the God of wind in
constantly stirring (in being the resort of the good) — the thunder-
bolt of Indra in cleaving the mountains (the hostile princes).”

Here the acquirement of fortune is intended to be understood in
identity with the blooming of the lotus, the attendance of the good
with perpetual stirring, the princes with the mountains. Thus this
series of fancied superimpositions or attributions of characters are
the occasion of the ascribing of the nature of the sun &c., to the
king,

c. The Single Consequential not resting upon a Paronomasia ; as

u May the four cloud-dark hands of Hari, rough by the stroke of
the string of his horny bow, preserve you, — hands that are the pil-
lars to the Dome of the Triple World.”

Here the attribution of the character of a dome to the triple
world is the occasion of ascribing the nature of a pillar to the
hands of Vishnu.

d. The Serial ; as

H That white umbrella of the royal Deity of Love, or the ornamental

* The demon of the asoending node that, by endeavouring to devour the
sun and moon, causec their eclipse : —

*£ Hdjan means both a king and the moon. ^

. % 4 Packno^ya^keing separable both into podnia+udaya and
and vaJM'i ifieanifcg • lotus’ and jpodmd, fortune.*;: So for the other puns.

The Mirror (^Composition.; 365

mark of sandal in fair Firmament's forehead or the white lotus - ol
the Celestial lake,-— the orb of the Moon — shines bright like a largo
lump of camphor.”

Here the ascribing of royalty, &c., to Cupid &c., is the occasion of
superimposing the character or nature of an umbrella &c., upon the
lunar orb.

e. With respect to these four examples of the Consequential Meta-
phor , it is the opinion of some (—the reverse of mine—) that the
speaking of the arm of the king, &c., nj$br the character of Rahu, &c.,
is the occasion of investing the assembladge of princes, &c., with the
nature of the lunar orb, &c.

• Text.

No. 672. If a principal object is metaphorically figured or
The Entire Metaphor and represented, together with those subordi-
its two divisions. nate, it is Entire Metaphor (see § 670),

and either (1) dwells in all of the objects, or (2) resides in a part.

The Entire Metaphor com-
plete.

Commentary.
a . Of these two sorts : —

Text.

No. 673. The First is held to be when
all the constituent metaphors* are expressed.

Commentary.

a. ‘The First’ — i. e. what dwells in all of the objects. For
example : —

“That benign dark cloud — Krishna disappeared, having thus
rained the nectarine water of his words upon the deities — the com
withered by the drought of Havana's destructive tyranny”

Here the nature of a cloud being attributed to Krishna, his words
&c., are represented under the metaphor of nectarine water, &c.

Text.

No. 674. It (see § 672) is said to ‘re-
side in a part' when any is understood.
Commentary.

the constituent metaphors. — The following

The Entire Metaphor, re-
siding in a p a rt.

‘ Any'-i. e; any'i
is an example : — - :

* In the original * aropya* (what ia to be superimposed).

The Min'orof Composition.

“What clusters of bees — eyes of peopled would not drink of
that blooming face of her, richly filled with beauty’s honey ?”

Here the attribution of the nature of honey &c. to beauty &c. is
expressed, and that of the nature of a lotus to the face is implied.
The present is no case of the Partial Simile (see § 663), aB the
attribute of bloomingness chiefly, or literally, resides in a lotus tho
nature of which is superimposed upon the face, whilst to the latter it
belongs only metaphorically.

^ : Text.

No. 675. If a principal object (see
§ 675) is alone figured, it is Deficient
Metaphor, which too is twofold, being (1)

Deficient Metaphor its two-
fold division into Serial and
Single.

Serial, or (2) Single.

T Commentary.

a. Of these two species, the Deficient Metaphor Serial is instanced
thus : —

u She of the lotus eyes is the very skiHf of the Divine Maker in
creating, the Moon-shine to the world’s eyes, the pleasure-house of
the incorporeal one (Kama) !”

b . Single, as : —

“ When a servant commits offence, the master’s kicking kirn is but
proper, so it is not for that I grieve, iny fair lady, but that tlfy tender
foot is pricked by the points of those thorns — the hard shoots of my
hairs that stand erect at the thrilling touch , this is my sore distress.”

Text.

Thus Metaphor is eight. No. 670. Thus of the Metaphor there
fold* are eight kinds—

Commentary.

a . Conclude the text by the words — 4 spoken of by the ancients.

b. Sometimes the Consequential Metaphor (§ 671) too dwells in
a part ; as:—

“ That Guard (sauvidalla) of Earth— the sword of that Indra of
men, triumphs in war.”

Here the implied attribution of the nature of a queen to the eart
is the occasion of ascribing the nature of Kguard to the iword. An
instti^co of Jhis^rt occurring serially also like the former sorts is to

aearchedi&t by the reader for himself.

367

The Mirror of Composition,

Text.

The Eitir® found- No * 677 - We sometimes see even in

e a sometimes on Parono- tlie Entire Metaphor that the images

mai3ia * are founded upon a Paronomasia,

Commentary.

a. Of the neu> sorts thus obtained I shall exemplify ‘that dwelling

in a part* (§ 674) resting on a Paronomasia, by the following stanza of
mine: — , r/ ; ^

“ Lo ! the Nectar-beamed moon having laid his hands (or rays —
kara) m on the breast of the Eastern Mountain from which the vesture
of thick darkness has fallen of£, kisses the face ( mukhaj of Indra’s
Quarter with sparkling lily-eyes.”

b . 1 That dwelling in all the objects’ (§673) would be exemplified
by reading in this very stanza ‘ chuehumbe haridabala-mulihamindu -
nayakena ’ instead of { vichumbati , &c.’ or by our adding in the English
the ivords 1 the lover } and f mat lady ’ before * the Nectar-beamed Moon }
and 4 Indr a' s Quarter ’ respectively.

c . The present is not a case ofpthe Paronomastic Consequential
(§ 671), for in that figure e. g. 4 BMbhrid&validambholi 1 (the thunder-
bolt to the mountains — the princes) without speaking of the princes
under the punning figure of mountains, the representation of the
monarch in question under t^e character of the thunder-bolt would
be, from the absence of resemblance, altogether absurd. 1 How then
would you admit the Consequential in such an expression as Padmo -
daya-dinddhis'a , when a comparison between the king and the sun
is possible, founded upon the common attribute of glory ?’ — Say not
so, for the resemblance of the king to the sun as arising from glory
is indeed manifest but not intended in the example, padmodaya (or
the Paronomastic identity of the acquirement of fortune and the
blooming of the lotus J being what is meant as the common attribute
of the two. Whilst here in the example under the text, the propor *
tionate similarity of the mountain, for instance, to the female breastp-
in bulkinesland height, clearly evident, it t no case of the
Paronomastic ConsequonstfaL

d* Sometimes the ^fetaphor is found without a compound. For
instance <f Thy face, 0 deer-eyed, is lotus, ngfc otherwise,”

368 The Mirror of Composition .

- e. Sometimes it is used without disposition ; as, t{ The Creator
formed here a line of bees under (the shape of) the eye- brow (bhru-
lataya)/*

f. Sometimes, under a negation oj? the attribute figured ;
as: —

“ They who inspired, with foolish hopes, have served the princes
of this Iron Age — the sandy desert for the water of goodness, the
aerial wall for the ornamental pictures of noble deeds, the fourteenth
night of the dark fortnight "for the moon-shine of merit, the very
elegance of the dog’s tail in respect of rectitude, — for these hard but
vain toilers , how much ability would there be required to serve the
God of the trident (S'iva) who is to be obtained by faith alone?”

< 7 . The stanza is mine. — Among the metaphors exemplified under
the foregoing texts , though some are founded upon a Paronomasia of
words, they are counted as ornaments of sense, as being species of the
Metaphor. Thus is it to be understood with respect to ornaments
to be spoken of.

Text.

„ , ,. No. *$78. A Metaphor in which the

Metaphor Extraordinary. 1

excellence rises to an excessive or extra-
ordinary degree is termed even so.

Commentary.

a . ‘Even so/ L e. is named Metaphor *of Extraordinary Excellence.
For example, the follotving stanza of mine.

u This face is the moon herself without tlio spot; the under-lip
is a vimba fruit ripened in a long time, the receptacle of nectar,
these eyes are lotuses blooming day and night with a superior beauty ;
and the body is a sea of charms exceedingly delightful to one wlie
immerses himself into it.”

Hero the excellence is extraordinary from the circumstances of
being devoid of spot, &c.

Text.

No. 679. When what is superimposed is identified with the sub-

CqpmratBtW,} Apposi- j ect °f euperimpmtion and selves the pnr-
tioiiftl oy Jfoipa|sp|»i tional. p 0gc ft ft Commutation (paripdm)

And is trofold as being Appositiouul or Non-appositional.

The Mirror of ComposUionr*-

UdpiENTAEY.

a. This figure is termed Commutation, as the object;
is commuted into the nature o£ the subject of superimposition.^I
example::— '

“ Of a smile she made a present to me who had 1 arrived from a
distance, and an embrace with the pressure of the breast was the
wager laid by her in gaming.”

In other, or ordinary, cases, a present and a wager are in. the shape
of clothes, ornaments or the like, whilst in the present case of enter-
taining a lover and gasping with him , they take* the shapes of, a smiiO s

and an embrace. Here in the first half of the stanza the figure is*

used without an apposition, and in the second with an apposition.

J. In the Metaphor, as for instance in the sentence ‘I seethe
moon-face/ the superimposed moon serves only to embellish the ex*

prnsion , but has no subserviency to the act of seeing which ia in*
question. Whilst here in Commutation , the present,, for instance,
is identical with the subject'd superimposition , viz . the lady's smile*
and is subservient to her, showing regard to her lover which forma*
the theme of the first half \ Hence It is that in the Metaphor what
is superimposed is to be construed as merely characterizing, or distin?
guishing the subject , and in the present figure, as being- identical:
with it.

o. In the stanza beginning with “When a servant: commits
offence 1 * (§675 J.) the ornament is Metaphor not Commutation, as the
act of piercing the foot, done by the thorn, is not in question, for such*
an act could never be intended towards the consummation of a pro-

. Vi. ' ' '

posed object or effect.

d. This ornament too, like the Metaphor, is found' with the ex-
cellence heightened. to an extraordinary degree (see §678) ; as:—

“ Where (in the Himalaya) the herbs luminous at night, shooting?
their rays into the interior of cavern-houses, become (or act aa)
hymeneftn lamps, unfed oil, to the foresters enjoying, the oomp^
of their consorts.” - :M

Here, the lamps tri the shape of the herbs are subservient to* the-
removal of darkness* whish removal is favourable to enjoyment,
the principal matter iff hand. Because of their being uhfdi 'B^
oil, they have wiftusellotittje heightened to an extraordinary donteo.

No. 680. When an object under description is poetically sftspccted
to be sdtnething else it is called a Doubt.
Doubt j its three varieties. R ^ tMold , aB being (1) Pure, Or <2)

Containing ft certainty, or- (3) Ending in a certainty.

Commentary.

a. It is Pure when it terminates in doubt ; as : —

“ Is this a new Sprout, that from an exuberance of juice has
burst forth from the Ijjreo of youthfulness, or is this a Wave of the
Sea of charms overflowing its banks, or is fhis the Chastising Rod
of the Deity of love, eager to expound his doctrines to men agitated

by fancy.” .

b. The sort ‘ containing a certainty’ results when thSre is a doubt

at the beginning and another at the end, but certainty in the middle ;
as:—

“ ‘ Is this the God of day ?— he rises in a chariot with seven
horses. Is this Fire? Certainly, it does not traverse in all directions
at once. Is this Yama himself ? He^ again, rides on a buffulo,’— thus
do thy foemen entertain doubts, seeing thee, 0 monarch , in battle.”

Here in the middle there is the certainty of its not being the sun
&c., that are exerting their destructive power. Were there the certain-
ty of the royal hero, there would not arise a second or third suspicion.

c. When there is a doubt at the beginning but a certainty at the
end, it is the sort called ‘ ending in a certainty.’ For example

“‘Is this a lotus shining nigh in the lake ?— or the face of a
youthful lady?’— thus did somebody, "after doubting for a moment,
attain certainty, by means of those gestures of loving indifference
unknown to the companions of the crane (i. e. lotuses which on
produced in a lake, the border of which is frequented by the bird.)

d. If such a doubt be not raised by a poetical fancy, as m the
question ‘ Is it a post or a man?’ it does not produce the ornament
in question.

e. “ To whose mind does not the doubt suggest itself— docs
exist or dpeSjit not ?’— with respect to that waist of thine, lady 0
tfcb lc^os :£y<fe! oppressed with the weight of thy breasts ?”

p^miwhtTiere is the Hyperbole (atisayokt^ the proper subjec^
pi tile pyesent 'ornament being a suspecting of an object of companso

pXT.

Nov 081. -file Misfaker is the thinking, from resemblance, of tut

The Miataker,

object to be what it is not — suggested by"
poetical fancy.

COMMENTARY.

a. For example : —

“ The simple cowherd, under an illusion of milk, places his jars be-
neath" the cows ; fair orils put the blue lotus to their ear, for ornament \
mistaking it for the white water-lily ; the moifrtam girl pluoks ilia
jujube, fruit, fancying it to be a custard apple : who is there in whose
mind'tlie profuse beams of the moon do not cause a delusion ?”

b. An illusion caused by tile nature of things is not the subject

of the present ornament, such as the illusion of silver in the mother-
o’-pearl, nor an illusion not arising from resemblance, as in the follow-
ing example : — Vy'“- S V

“In a choice between her association and separation, hor separation
is to be preferred to her association. In union there is but she alone*
but in separation the triple wojjjl is full of her.”

Text.

No. 682. The description of one, under a variety of characters,

Representation i its two arisin S (!) from a difference of perceivcrs
lan(la - or (2) from a difference of peculiarities, is

termed Representation.

COMMENTARY.

a. . For examples in their order : —

“ The Deity was apprehended as their beloved by the cowhordesses,
as a child by the old, as tlieir lord by the gods, as Nardyapa (the
Universal Soul) by the devotees, as the Absolute by those who prac-
tised abstract devotion.” *

Here the tastg&o. of .the cowherdesses and others are the respect
tive occasions of t^ ittanifold representation of the same Deity as
associated several attributes. As thejt have said y ‘ ThO

coguizance of oml atul the same object, determlii«ic^’.Mit'}^;M;g
.consideration of My o|, its particular attributes, differs accbidlbijE: tdi
the taste, the ^ the habit of tU perctioerj

GompCmtion*)

b. In the present example, the sta|p or nature pf being beloved
Ac., ascribed to the Deity (Krishna), being rlSl; and the peTceivers
fc 0 ifl^liffer e nt, the ornament is not that of the Garland of Metaphors
(§ 675 a), nor the Mistaker (§ 681), nor a Hyperbole consisting ^
making a distinction where there is none (§ 694 e). In the last
ornament, as in Me example u Strange indeed is the beauty of her
body” (§ 694; e), the objects of description viz. , beauty, &c*, are
falsely represented as distinct, but here the state of being beloved &c.,
are not falsely ascribed to the Deity by the cownerdesses &c., inasmuch
as the character of b^ng beloved, for instance, did belong to him at
the time.

t. Some say that this figure invariably derives its strikingness
froth another ornament, and that in the said example there is a
Hyperbole, inasmuch as Krishna , though really ofte and the same ) is
represented as distinct, with respect to the several beho^^j tinder the
character of one beloved or the like, which is intend^H^d be exclu-
sive of those of a child <&c. But notwithstanding th| presence of this
•ornament {Hyperbole) , the peculiar strikingness resulting in a
distinction of perception, from a difference of the perceivers, con-
stitutes the distinct figure named Representation.

d. The passage in the description of the country called S'ri-
kantha — u It was fancied to be an adamantine frame by those that had
gone to it for refuge, the ethereal void by the chdtolcas &c.,”is an instance
of the present ornament, distinct from Hyperbole, it being here asso-
ciate^! with the figure of Metaphor. Strictly, however, in the clause
beginning with ‘Ethereal void’ they would have the ornament Mistaker
■not Metaphor, for the superimposition of a character , only when
preceded by an apprehension of its distinction from what it is
imposed upon, constitutes the Metaphor or the like, founded, as it is,
Upon the Qualitative Indication (see § 18), As the venerable Yachas-
patJMis'ra, in his gloss on the commentary of the S ariraka Miindnsa,
Bays— - A word implying something to be compared to is used to
signify or describe something else (i. e. the object of comparison) with
reference to some implied attribute common to the significations of
botk^ktworfes in such an employment of a word, tb 0 sp ea ^ er

and hearer $l^^thi^ight apprehension, *.^ e, the understanding of re*M*
it if or founded upon a and lS

{preceded by ft 'conception outlie distinction of the tw$ object*.”
Now here in the description of the country S-rikantha, the im-
positi<m upon it of the nature of the ethereal void on the part of
the chdtalcas is occasioned by mistake. In the same passage, further
on— 11 a Sacred grove by the ascetics, a place of amours by the
courtezans,” we have an instance of the association of the figure of
Commutation (§ 679).

0? In % solemnity ( gdmbMrga ) thou art the ocean, 0
thy gravity a mountain*’— in such an example as this, the distinction
of the objects viz. the qualities of solemnity &c., is the occasion of
the manifold representation of the same man, the former sort resting
upon a subjective distinction, the distinction of the cognising person if
not of attributes cognised. i

/. “ He is grave (or Brihaspati— guru) in speech, broad (pri(fru)
of breast and white (or Arjuna) in fame”— this is a case of this sort,
distinct from the Metaphor, Hypetbole founded upon a Paronomasia
being the ornament connected here.

*Text.

Of the real nature of a thing and the ascrip-
tion of an alien, or imaginary, character,
constitute the figure of Concealment.

Commentary.

0 . This is twofold, thesnperimposition, or the attribution offi fan-
cied character, being sometimes preceded by the denial of the real na-
ture, and sometimes the denial being preceded by the superiiuposition.
For examples of the two sorts in their order ': — f ;

“ This is not the sphere of ether but the ocean; these are hit
stars but fragments of fresh foam ; this is not the moon, but the Royal
Serpent (S’osha) coiled ; and that is not a black spot but the Foe
of Mura (Yuhfju) reclining.” ■■•.■.^“5,-,

“ Lo ! the orb, Qf the cqol-rayed luminary, shining like a- Innip of
kiq^ft.the.^rest of the Western Mountain, bearing the sinoke^
tinker di?gbise of the manifest black spot, of the fire of Iqve

No. 683. The denial
Concealment.

374 The Mirror of Composition.

., 4, This stanza is mine.— Similarly a negation of the real character
is to bo understood under such a form as the following
“ The ocean shines iu the shape of the heavens, and the stars are
the foam thereof.”

Text.

No. 684. If having somehow given expression to some secret
Another variety of Con- object, one should construe his words differ-
cealment. ently, either by a Paronomasia or other-

wise, it too is Concealment.

Commentary.

а. By a Paronomasia, as : —

“ ‘In the season of clouds it is really impossible to remain. with-
out a husband (or without falling — apalitayd) “ 1 Art thou troubled,
fickle woman ?’ — ‘ No, no, dear friend, the way is slippery. ' ”

Here the woman, having at first said ‘ without a husband’ in the
expression tifatitayA, c^ptrues it otherwise than was her real meaniny
into ‘ without falling.’

б, Without a Paronomasia ; as : —

, ‘ What creeper is this here before me that clings not close to the

tree, with its body agitated by the wind?’ ‘Dost thou, fair friend,
call to mind thy festive dalliance with thy lover ?’ ‘ No, no, I just
described a feature of the rainy season,’”
o. In the Crookfe Speech (§ 641), a different construction is given
to another’s speech, and here to one’s own ; so it is distinct too from
that OThament. It is distinct too from the Dissembler (see §749), for
the secrecy is first expressed by the person who afterwards conceals it.

Text,

No. 685. Certainty, again, is the establishing of the real, hav-
ing denied the foreign, or fancied, charac-
Certainty. ■ ...

; .h' Commentary.

a. * Certainty’ is the name of the present ornament,— The foreign,
i.e. what is 8uperiiri|)08ed.— For example, my own couplet
“ It is a face, not the .lake-born flower (red, lotus), these are eyes,
not honey-maker, fruitlessly here by t|e side

The Miffin' of Ompositiln. 375

b, Maniple

4< It is j| garland of lotus-stalks on my breast not the Chief of
serpents ; it is a string of blue lotus-leaves round my neck not
that sheen of poison ; it. is not ashes but the cooling dust of sandal
that besmears my body, separated os I am from my love. Strike mo
not, Bodiless Deity (Kama) mistaking me for S'iva thy foe — where-
fore rushest thou at me with anger ?”

c. * This is not * Doubt ending in certainty’ (§ 680 c) since in that
figure, the suspicion and the certainty successively reside in the same
subject. Here the suspicion belongs to the black bee, for instance,
and the certainty to the lover. Nay the black bee has no suspicion;
inasmuch as the bee’s approaching so near would be possible, only
when its cognition has not more than one alternative, that is , when it
does not waver between two thoughts , but is single-minded and certain ,

‘ Well then let it be^tlie Mistaker (§ 681).’ Granting that the bee &c.,
was under a mistake, it is felt by the man of taste that it jy|pot the mis-,
take that causes surprise in the present examples , but the peculiar ^ man-
ner in which the lover &c. express themselves. Besides oven if it be
not really meant that the bee or the like did fly towards the face of the
fair woman or was under any mistake, such a sort of speech wouldAe
quite possible, simply as a compliment to one beloved &c. Nor is

" the figure in our present examples a metaphor implied, inasmuch as
the face for instance, is not cognised under the character of a lotus, that
character being expressly denied. Nor is it Concealment (§ 683), the
real nature of the thing under description not being denied. ^Thus,
in reality, this ornament is distinct from those spoken of by the
ancients. This figure does not belong to such a speech as ‘ This is
mother-o’-pearl not silver’ addressed to somebody bending towards a
pearl oyster under the notion of its being silver, such a speech being
wanting in strikingness, the essence of an embellishment .

Text.

No. ; 086. T&e Poetioal Fancy is the imagining of an object under
tho character of another. As being Ex-
pressed or Understood, this is first held
^ twofold. The Expressed is when the

particle;! ar^.omployed, the other, when they are not used.

Since iVeach of these sorts, avenue, a Quality, an Aetion, or. a

Substance may be fancied, the figure becomes eightfold, In each
of these eight sorts again, the fancy being (1) Positive or (2) Nega-
tive, and the occasion of the fancy being in the shape of (8) a Quality
Or (4) an Action, they become thirty-two fold.

. Commentary. _ . \ v- f

a. Of these, the Expressed Poetical Faucy is partially exemplified
as follows i —

“ The thigh of the fawn-eyed one with the skirt of her raiment
fluttering upon it, shines as if it were Cupid’s triumphal column of
gold, bearing his banner.”

As the term ‘triumphal column’ denotes many objects, oris a generic
appellation , we have hero the Pootical Fancy of a Genus.

b . “ Knowledge attended with sober silence, or tvitk an abstinence
from pedantic speech, power accompanied with forgiveness, and libera-
lity associated with the reverse of vaunting — his* virtues, occasion-
ing, as thejjftlid, other virtues, were, as it were, generative.”

Here we have a Quality, vis, generativeness, fancied,

c. <l The sound of thy march, 0 Sultan/ bathes, as it were, in
Ggnga’s water, — guilty of causing the abortion of thy foomen’s

; wives.”

Here we have an Action — 1 1 bathes/

d. “ The face of the deer-eyed one shines as if it were another full
moon.”

The word ‘ moon,’ signifying, as it does, an individual, is denotative
of a substance or a concrete object. So here tee have the Poetical
Fancy of a Subdance,

e. These examples are when the Fancy is Positive (see Text).
We have the following example when it is Negative

il Alas, the cheeks of this lady , so fair, have attained to this thinness,
as if not seeing each other.” *

Here in * not seeing* we have the negation of an action* So in
other cases. .?* ;

fi The Occasion, as being in the shape of a quality or an action
(see % exemplified in * The fbunS ot thy march &o.’ where

tiiyFi' guilty is tho occasion of Funcy^ or in ‘ Alas,

Ih tbanriglaal evratrdaa, which the sphoUast so interprets.:

The Mf^df'b/do^eition. 377

the cheeks of this lady, &c.V where the occasion is an action, viz n
attaining to thinness* So in other cases.

* ff. The Implied Poetical Fancy, as

il The,breasts of the slender-bodied lady show not their faces (or"
nipples, which are of a dark colour and therefore as it were concealed)
from shame that they gave no room (so plump and so close they are)
to the excellent (or stringed — guni*) pearl necklace,”

Here we have Poetical Fancy implied, from the absence of ‘asf
or the like in connection with * shame,’ thus * as if from- shame, &o. r
Similarly in other cases.

h. • But then,* somebody might object, ‘ on the occasion of discus-
sing Suggestion, you declared tha capability pi all the Figures being
suggested, why again do you assert particularly here of Poetical
Fancy that it may be implied. I answer, — in such a case of Sug-
gested Poetical Fancy as the following :• —

“ 0 fortunate youth, she, not obtaining a place in tlvy Heart filled?
with a thousand fair women, emaciates, day by day, her frame*
making that her only business.” The sentence is logically complete-
even apart from the Fancyf ; whilst here in the present example the
sentence is c^pplete as to its sense only under a Fancy, that is, whent
‘as if’ is understood, thus i as iflxoxa the shamQ,’ inasmuch as the-
breasts could riot bo really ashamed. Thus tiro- Suggested, and the-
Implied Poetical |||ncy are distinct. ^

i. Among these kinds of Poetical Fancy , he mentions some pecu-
liarities among the sixteen sorts of the Expressed Foetical Fancy i

Text*

No. 687. Of these the Expressed sorts again are with the ex-

Sub-divisions of Express- ception of that of Substance (§ 686), each
ed Poetical Eanoy. threefold, aa pertaining to (1) a Nature, (2)

an Effect, and (3) a Cause.

* Commentary.

a. 1 Of these* i. e . among the said divisions of the Expressed,
and Implied IVdioal Fancy. - Of tho sixteen sorts of tho Expressed

V.'

* means bo& a atrps »ud a good quality.

t Which the lady grows thin as if to got room in. tho heart of the

youth. ' 7: r ”

378 The Mirror of Composition,

Poetical Fancy, the twelve belonging to the three subjects— Genus,
Quality , Action (§ 686), being each threefold as respecting a Nature,
a Fruit, or a Purpose, and a Cause, we have thirty-six sub-divisions.
These, combined with the four kinds pertaining to a Substance, which
can be fancied only in itself, 1 * make up forty sub-divisions.

b. Of these the Poetical Fanoy of a Nature; e. g. those of the
nature of a genus and a quality are respectively instanced in 1 — as if
it were Cupid’s triumphal column 1 (§ 68|yi) and ‘—as it were gener-
ative’ (§ 686 b) in the foregoing examples.

c. The Poetical Fancy of a Fruit, or Purpose, as : —

u The swift-going arrow snot by Kama, having pierced tlio # heart
of R&vana, entered the garth as if to tell the agreeable tidings to
the Serpents dwelling in the infernal regions”

Here by the expression * to tell/ a fruit, in the shape of an action,
has been figured, of the arrow’s entering the earth*

d . The Poetical Fancy of a Cause, as :

“This is the spot where, searching for thee, I saw an anklet fallen
on the ground, holding deep silence, as if from the sorrow of separ-
ation from thy lotus-foot ”

Here the quality, or attribute, of sorrow is fancied as a cause.

Text.

No. 688. Of these, the sorts pertaining to ^Nature are again
Further sub-divisions of twofold, according as tlP Occasion of the
the above, fancy is mentioned or not mentioned.

Commentary,

a. Among these forty sorts, the sixteen pertaining to a nature are
sub-divided into thirty-two, according to the mentioning or not men-
tioning of the occasion Of the Fancy. So there are altogether fifty-
six sorts of Expressed Poetical Fanoy. Of these we have the sort
mentioning the occasion, in the foregoing example ‘—bathes as it
■Were’ (§ 686 e.) where the occasion of the ^ancy— the being guilty,
is mentioned. When it is hot mentioned we have the example ‘as

, f |Far, saya tie scholiast, a substance or rather an objoct denoted by a proper
namf, does give rise to poetical surprise, if fancied as tho fruit or cause of
a certtun ^Ycht. .

The Minor if Composition. 379

Jf it were another moon’ (§ 686 d.) where the excess of the peculiar
beauty or the like is not mentioned.

6. In the Fancy of a Cause or of a Fruit, the Occasion must, as a
matter of course, be mentioned.* For if the Occasion, viz., ‘holding
silence,' of the fancy — ‘ as if from the sorrow of separation,* and 4 enter*
ing the earth* of ‘ as if to tell, &c./ be not mentioned, the sentences
would be unconnected or absurd,

o. He states the peculiajjhies of the sixteen sorts of the Implied.

Text.

Sub-divisions of Implied No. 689 * The divisions of the Implied
Poetical Fancy. Poetical Fancy may each pertain to a fruit

or a cause.

Commentary.

a. As, in the preceding example “ The breasts of the slender-
bodiod lady** &c. (§ 686 g) we have a cause fancied in ‘as if from
shame,*

b . In this (Implied Poetical Fancy) too it is impossible that the
occasion should not be mentioned, since if the particle ‘as* &c. imply-
ing a fancy K$not employed and the occasion not mentioned, it .would
be impossible for the reader to recognize the Fancy.

c. Nor is the fancy of Nature (i. e. irrespective Nature § 687) pos-
sible in the presenPrariety. For in the fancy of a nature which consists
in the identification of another concrete object with the subject of de-
scription, if 4 as* &c. be not used and an epithet be added to the character
fancied, We should Ull it a Hyperbole; as “This king is another
Indra.** And if no epithet be added, wo should have a Metaphor, as
‘ The king is Indra.* So the Implied Poetical Fancy is thus thirty?
two-fold.

Text.

, Other two aspects of Foe- No. 690. These, again, are each twofold,
tical Fanoy.^ according as the subject of the fancy is men-

tioned 6r not.

* In the fancy of. akCause, observes the commentator, the Ocoosion is the
fruit or oonee^enoe ^ what is fancied, and in the Fancy of a Fruit, the Qcea-
* i<m '* otf tmon of what^fancied,

380 2 %& Mrr#r off^mpc^ition.

Commentary,

u. * These* Le, the said varieties of Poetical Fancy* When the
subject is mentioned, take the example “ The thigh of the fawn*eycd
one &c.” (§ 686 a.) When it is not mentioned, take the followjng
words of Pradyumna in my drama Prabhavati :

. 41 Now the thick darkness, covering over every region of space, has
sunk the world, as it were, in a sea of black collyrium;* has filled it,
as it were, with particles of musk ; has o|g|spread it, as it were, with
Tamala trees ; has invested it, as it were; with black wrappers.’*
r Here the subject, viz. the being pervaded, of the Fancy of being
sunk in collyrium is not mentioned* Or, for example, “ Darkness
besmears, as it were, our bodies ; the heavens, as it were, rain
collyrium /* Here the subject pervasion, of tho fancy of darkness
besmearing our bodies is not mentioned, as also the falling of darkness,
the subject of the raining of collyriuiu.

The Occasions of the two cases of Pootical Fancy in the present
example , are respectively the excess and the pouring down of
darkness.f Some, howover, say “ The subject is darkness itself
which is not an agent of the act of besmearing ; the fancy is its being
such an agent ; and the occasion is the pervasion. Similarly are the
heavens, as the supposed agent of the act of raining, the subject of
the Fancy/’

Text.

Poetical Fancy founded No. 691. This (Poetical Fancy) when
upon another ornament. arising from another ornament, is more

striking.

Commentary.

a. Among such cases , Poetical Fancy founded upon Concealment
is exemplified in the f dewing stanza of mine : —

u The flood of beauty of the fair-eyed one, incapable of being
contained in her body, falls overflowing, under the disguise of tears,
as her eyes are pained by the smoke of the fire kindled by the oblation
of ghee/* .

* IAtorally has associated the world, as it were, with largo quantities 0
coltjfHum. V; V •'

f \T^;<»*^natidh, says the annotator, is according to those who bold tba
Birkneas itf a substance.

r :.. . 381

l. Poetical Fancy based upon a Paronomastic (§ 643^ Occasion ;
as — '

u The pearls, we believe, that issued from the narrow womb of
the oyster, . have attained this their fair quality (or string — gun a)
from d Wellington the' charming conch-like neck of this lotus-eyed
damsel”

Here the Paronomasia in the word guna (which means loth a string
and good quality) is the occasion of tho Fancy of a Cause (§ 687 d .)
contained in the clause 1 (a#*if) from dwelling on the conch-like neck/
Here * wo believe’ is the expression denotative of the Fancy* Simi-
larly—

, Text.

No. G92, * Metliinks,’ * I suspect,’ c of a certainty,’ * perhaps/

‘ surely’ and such other expressions are used .

Commentary.

a. Sometimes we have a Poetical Fancy beginning with a Simile,
as :— 1 *

“ Tho Foe of Mura (Vishnu) saw, on the other side of the sea,
series o"f woods abounding with dark-green Palas'atrees, which looked
like confervas thrown every moment upon the shore by thousands of
surges.”

Here since the word dbha* implies a comparison, there is a simile
in the beginning, but in the end there is Poetical Fancy, inasmuch as
the existence of confervas on the sea-slxore is imagined as probable,
notwithstanding its impossibility, Similarly is it to be understood in
the description of the emaciation of certain love-lorn ladies, ‘ Their
bracelets were turned into armlets ;* as also in such an instance as
i The side-glance of her with eyes large like .those of a deer acts the
part of a blooming blue lotus in her ear.’ (In these two examples the
ornament begins with seeming to be a Simile, but terminates with
being.: recognized . as a Poetical Fancy, inasmuch as the bracelet and
the side-glance are nq|gompared to an armlet and a blue lotus re-
^fpoctively, but are fancied as if they were actually &o.)

* The wovd means f appearanoo’ but it is used in comparative compounds
to denote ‘ like apjfearai^e. 1

382 The Mirror of Composition^

b> In the figure of the Mistaker, a a in u The simple cowherds
<fcc.” (§ 681 a •) the deluded cowherds have no consciousness of the
moon-light, the subject of their mistaken* notion of milk, for it is this
supposed fact that the poet founds his description upon. But in the
present ornament, the person who entertains the fancy |}as a cognition
of the subject of his fancy, i. e., of the distinctive nature of what he
invests with an imaginary character . This is what makes their dif-
ference. In the Doubt (§ 680), both the alternatives are cognized as
equally prominent, whilst here one of the alternatives is more power-
ful and is in the shape of a (fancied) probability, or an undetermined
ccfgnition. In the Hyperbole (§ 693) the unreality of the character
fancied is apprehended afier the mm of the sentence is understood,
and here, at the very time of the sense being understood.

c. ** Has darkness coloured black the various trees and hills, or
has it brought down the heavens, or has it screened them over ? Has
it levelled the earth in its uneven portions, or has it fastened together!
all the regions of space ?”

Some recognize here the ornament of Doubt, inasmuch as thfi trees
pervaded by darkness are suspected to be coloured, and so on. This
opinion is not right, for the Doubt consists in the cognizance of the
same object under more than one al^rnative equally prominent ; whilst
here the pervasion of the trees, hills, &c., by darkness, is not one and the
same pervasion, but is conceived as distinct and various pervasions as
distinguished and individualised by the several objects with each of which
it comes , as it were, in separate contact ; and besides, the ‘pervasion* or
the like is swallowed up by the idea of 4 colouring* &c., which alone
are prominent. Others say that the present is a distinct kind
of the ornament of Doubt, though having one of the alternatives
more prominent, because it has the beauty of uncertainty. This
too is not right. Since the apprehension of a thing, (the real
nsg^re of which is, as it were, swallowed under an identity with

* The Figures termed Doubt and Mistak^respeotively are sufficiently ex-
plained by their designation. It will help the reader in understanding the*,
diatinotive of the predent figure (Poetical Fancy) to say that it simil-

arly nnlWors to prbbapiUfcy. The name might, indeed, be rendered Probability;
or Poetical *Pro|febilj|y. \* . 4 .

The ccm^ntator reads hew sayhrttdh * destroyed* instead of sonhatah.

The Mirror of Composition. 388

Something else is what is styled Fancy j and as this evidently exists in
the present cose, being implied by the particle nu as well as by iva,
the ornament ought to be the Poetical Fancy. Enough of inventing
distinct species of the Doubt that are no where to be found.

d . “ This that in the midst of the moon spreads the charms of a
flake of cloud— people call a hare : to me it appears not so. I be*
ljeve the moon to be marked by the black scars of the wound caused
by the darting meteor-glances of the young women distressed by the
separation from thy foemen, their lords”

Here, since notwithstanding the use of the expression * Methinka*
(‘mange* implying a fancy ) (§ 692), we do not recognize a fancy as
defined before, we have a mere conjecture, not a Poetical Fancy
attended with Concealment (§ 683).

No. 693. When the Introsusception
is complete, it is styled Hyperbole.

Comment aey.

a. ■ When a subjective fancy % having swallowed up, or altogether
taken in, the object, is apprehended as identical with it, it is Intro-
susception. This introsusception is incomplete* in the Poetical Fancy,
where the subjective notion is expressed with uncertainty. Whilst’
in the present ornament it being conceived with certainty, the intro*
susception is complete.

b. In the Poetical Fancy, the swallowing up of the object (vis*
haya)f is by simply reducing it to a subordinate condition, and so may;
it be also here, as in — * The face is a second moon/ As has been said,
“Be the object mentioned or not, if it is simply reduced to a suboiv
dinate condition, the learned declare it to be swallowed.”

• Sddhya— 1 to be competed. ■ >

This word was rendered ‘ subject* or * subject of the fancy/ under the
foregoing text, but it geej&s better here to adhere to its strict philosophical
Bigmficution of ' ^bjeot' as contradistinguished from 1 vishayin* (subject). 3ee
the beginning of commentary on tho Vedanta Sutras.

384 ■ The Mti&f

• Text.

No. 694. This is five-fold, as there is a denial of distinction

Five varieties of Hyper- where there is a distinction in reality , a
k° le ’ negation of connection where there is a

connection ; and vice vend ; and as the sequence in a causation is
inverted.

COMMENTABY.

a. Vice vend i. e. implying a distinction where there is identity
and a connection where there is none. — 4 This* i. e . the Hyperbole.

J. Of these Divisions , an Identification where there is a Dbstinc*
Hon is exemplified in the following stanza of mine

44 How is it that the peacock’s tail shines above ; and beneath it, the
lunar digit of the eighth night ; next to it a tremulous couple of blue
lotuses; below it the Tila flower, and still lower a tender leaf?”

Here we have the introsusccption of the tresses of a beloved woman
in ‘the peacock’s tail with which they are identified.

c . Or, for instance, 44 Holding deep silence as if from the sorrow
of separation” — (§ 687 d.) The silence belonging to a sentient crea-
ture is one thing, and the stillness pertaining to an object unthinking
is another. The two states, though distinct, are identified here.

d . Similarly in the line 4< In her youth, her lover is flushed (—with
love, rdga-bhdk) together with the soft petal of her under-lip ,> — tlio
rdga of the under-lip is its redness and the niga of the lover is his
love : these two conditions are identified.

e. A Distinction where there is an Identity ; as —

“Strange* indeed is the beauty of her body, strange are the riches

of the fragrance breathed by her : the charmingness of her with eyes
like the lotus-petal is altogether extraordinary.”

f A Denial of connection where there is a connection, as —

■ ^ Was it the moon, the source of lovely radiance, that was the
Creator in forming her ; or was it Kamajimself ever devoted to love;
or was it the Season of Flowers (Spring) ? How indeed could the
Ancient Saint’ (BrahrhA), cold by studying the Veda, with his mind
turned away iro*8 objects of sense, create this heart-ravishing form T 1

Literally—* other. 1

| HereJ ilitliWg|b the Creator, the Ancient of days, is coiihecfld with
the forhijiUoii y(f Me lady, there is a denial of His connection.

g. A Connection implied where there is roally none ; as—

“ If, on the orb 6f the moon, were fixed a couple of blue lotuses,
then indeed might her face with the fair eyes be compared.’’

Here a connection, unreal, is fancied by means of. a supposition
brought in by the force of the word ‘if.’

A. And the i^yersion of the sequence in a causation (§ 694) is
two-fold, as the effect may be supposed to precede the cause or to CO*:*
exist with it. For examples in their order : — ^

“ The hearts of the deer-cyed ladies were agitated by fancy, eydh
before the beauty of the blossoming Yakula and blooming Mango;
manifested itself."

“ Simultaneously did he of the elephant’s majestic gait tread both;'
the paternal throne and the dominions of other rulers.”

i. With reference to the present some say “ The ordinary,
or only mundane, excellence belonging to the lady's tresses (§ 624 b.),
for instance, is fancied as being super-mundane, and it is such a fancy
that constitutes the introsusception in the present ornament . If, on the
contrary, the introsusception of the tresses be held to consist in their
leing fancied under the character of the peacock’s tail, # the definition of
the figure (§ 693) would not include, as it ought to do } such instances
as, * Strange is the beauty of her body (§ 694 e j " This iOiriq#
rightj^For here too, the lady’s beauty which is not gemri6'atly$i*
ferent from that of other women , is fancied as different. To rtfa&e
the case still more dear, if we substitute • anyadiva ’ for ‘anyadw#
and read in the translation 4 Her beauty is } as it were , guile apar^fi^
that of: other women, Sfc? we should .indisputably have an inbdniplet^
introsusception, and so a Poetical Fancy (§ 686) would be admitfc^
In the example beginning ^ The hearts of the deer-eyed ladies’ (§ 69j#
A), the beauty of the Fakuld & c., though coming first, is fancie4|(Sl
coming afterwards, and so here too, on the employment of the partis

. . -V ‘ r,’ .• . :

• H*re in E^BT^yMon of tha^giind, supply the following and cancel
before reinove the inverted commas after it

_ ' , , No. 695, When objects m hand or

Equal Fairing, . _ . . . _

others are associated with one and tho

Bame attribute it is Equal Pairing.

Commentary.

a. * Others' — i. e. those that are not in hand, or unconnected with
t%e subject ,

h. i Attribute' — i. e. Quality or Action.

c. The following are examples —

“Unguents of Sandal , white flowers, 1 ' and candles, and fair ones in-
dignant against their lords were, by that darksome time (evening),
lighted up, and Love awoke that had long fallen asleep.”

Here the description of darkness is in question, and the unguents
&c connected therewith, are associated with the same action of light-
ing up.

“ Who, that has perceived tho softness of thy body, feels not the
hardness of the jasmine, the lunar streak, and the plantain?”

Here the jasmine &c., that are unconnected with the subject, are
associated with the same quality of hardness. ■'*

d. Similarly: —

“Charity from Affluence, Truth from Speech, Fame and, Piety
from Life, Beneficence to others from the Body— from unsubstantial
things , man ought to extract substantial good”

Here Charity &o., which are in the objective case, are associated
with the same quality of substantialness, as also with the same
action of extracting.

' Tbm * * .■ : y ; v' .

ffh rn * tor No. 696. When a thing connected

with the subject, and another unconnected
with it, are associated with the same attribute, it is ter&ied the lllumi-
nator ; or when tbe fame Case is connelted yrith more than one Verb,

? 4 Commentary.

eoiamples o/ these tm sorts $$$■

°r

Thettirfor

presses ther worli IbWj as of old : the chaste ; wife ho
Nature; come ; t6 the; man even ia succeeding birthB."

Here there is an association with $e same action of aocompahjrijjg,
of unchanging Nature, which is connected with the subject, ejrd the,
c has te Wife who is not connected.

“ 'When thou, life’s lord, hast come to a, distance, she, poor woman,
pierced by the shaft of Love, rises up fitfully and lies down and comes"
to thy dwelling-house, goes out and laughs and sighs f” v

The stanza is mine. Here the same heroine is connected with the
many actions of rising up &c.

h. .In the present Figure, the three varieties, arising from the,
Quality or the Action being expressed in the beginning, middle Of
end, have not been formally defined, inasmuch as a thousand su<& ?
var$p» are possible in every ornament.

Text.

No. 697. Typical Comparison is When
in sentences or descriptions, of which the
correspondence is implied, the same common attribute ia differently
expressed.

Ty$oal Comparison.

' COMMENTARY.

a. For Example : —

“ Glorious art , thou, daughter of Yidarbha, thou that by noble
qualities hast attracted even the lord of Nishadha : whit greater priise
can be bestowed upon the Moon-light than that it agitates efsa i
Ocean?” • " *' ‘‘‘

Here the actions o£‘ attracting’ and ‘ agitating,’ though the satoe;,
are expressed by a difference of words, iu order to avoid a repetition,

b. This Figure is also found in a series ; as— 1 ' ^ f* -

“Glorious indeed is the sun, pure the moon, the mirror is by ;»gtura
brilliant, S'iva’s mountain (Kailasa) is closely akin to S'iva’s laugher,;
and the virtuotts man is essentially fair.”*

“ • Full many i gem of purest ray serene.

The dark uttfikthom’d cqpes of ocean bear t ;

Full mauy » M|rBr iB bom to bloahunaeeu f

- And W^^ lb srwMttteSs on tljp desert air.* Gtvy.
atenta;^ bonis^Mh with thie suoCeefflim, may be given as twicb ii|<

stenoi^ toPigureTw^ v,i ' : ' ^ :/s M

Exemplification.

Here the words 9 glorions, * ^ :pare^ &c* are ;
meaning. ^

Oi , Th* mm figure under a negation of attribute;

%i The ehahoris alone are expert in the act of drinking the moon-
light: none, but the fair ones of Avanti, arei skilled in the pranks
of love,”

Text. ■ /■' •:

No. 698. But Exemplification is the re-
flective representation of a similar attribute.

Commentary.

a. i Similar* — this distinguishes it from the Typical Comp^ison
(§ 697).

b. This figure too is twofold, being founded upon a similarity or
contrast. For examples in their order

. “ A good poet’s song, though its merits have not been examined,
j&urs a flood of honey into the ear : A wreath of jasmine ravishes
the sight, though its fragrance has not b^.eu perceived.**

‘‘ The stag-eyed lady ceases to feel the torments of Love when thou
art seen: The asseml^age of water-lilies has been seen to droop,
when the moon has tfot risen.”

c. . How can my heart, the affections of which are enchained to
Yasantalekhfi alone, turn to other lovely women^ Does the bee,
eager fgr the honey of the blooming jasmine, seek any other plant ?**

The stanza is mine. Here since the phrases ‘ how can my heart
turn V and * (does the bee) seek any other plant ?* terminate in con-
veying the same sense, we have but the Typica| Comparison. Whilst
in the example of the present Figure, t he pouring of honey into tho
ear and the ravishing of the sight are similar, not the*&ame.

When between the significations of a coujpl||bf sentences, one
Of which illustrates the other, there is the relation of genus and
species, we have the ornament termed Transition {wrthdntarn- ny a sa—
§ 7G6>), ? Such being not the case in the Typist Comparison and tho
" ion, they are distinct

Text,

i is sometimes tie OftSSi even an

impossible ppnneotibn of th|flga imph fiS a

• Jfi •* , :<a THUS-

otQtypei' it ja Illu8*

CoMMEKTABY.

a. Of the two sorts implied in the text, we have Illustration under
a Possible Connection of Things exemplified in the following lines :■

“‘Who that vainly torments creatures in this mundane spHhttr
enjoys prosperity for a long time ?’— telling this, the Sun, in a day,
then reached tfie Western Mountain.” v

Here the connection of the sun, as the agent, in the act of intimat*
ing such a fact, is possible, inasmuch as the circumstance of his
setting in the Western Mountain is capable of making such an in-
timation. And this connection implies the relation of a Type and
Prototype between the sun’-s setting and the falling into adversity .‘of
those who oppress others.

b. The. illustration under an Impossible Connection of Things is
twofold as being conveyed by one or more sentences. Of these, that
conveyed by a single sentence ; as— V

“ Her sidelong darting glance bears the loveliness of the blue lotus*

garland; her -under-lip, the ^irness of the tender leaf j her face, the
radiance of the moon.”

Here the impossibility of the darting glance^for instance, bearing
the loveliness pf the blue lotus-garland— for hdw can a thing bear
the property of another?— suggests a loveliness like thereto, and
implies the rela^jgn of a Type and Prototype between the wreath of
blue lotuses 'and the darting of a side-glance. V . v ;

o. Or, for example : — • >/%■:’ T , '

“ At thy march, 0 Chief of monarchs, the face and feet of thy
fooroan’s fair ladies forsook the fairness of the-moon and thqi gait of
the royal swan.” - ■ ' ; 1 ’!' :,;f

..." ... .^>^5

. Here the setting aside, by the fair ones' feet, of the gait of t]N
royal swan, with j^.ph they have no connection, ifeeing absurd||p|
connection iR EAjjoftn, but this fancied connection being actuallg i fify.
possible implies a gait similar to that of the royal swan,. '
d. The same in prose than one sentence (see § b.) ; as—

The saint, who wishes to make'this uni’eignedly lovely
for penance, surely refolves to cut th$ S'ami plant with the
tlie blue-lotus-leSl?

Herd the oonheotiotiof identity betweenthe - significations of tie
sentences, respectively marked by tie Relative and the Demons-
trative Mj i- e.ofthe^el&tive a^d oonelative clauaes, beingabsurd,
terminates in tie relation of type and prototype, tins— The desire
of making suoh a frame fit for penance answers to tie desire of
catting tie S'ami plant with tie edge of tie leaf of *the blue lotus-
leaf.

e. Or, if you refuse to count the relative and correlative clauses as
distinct sentences ( ? ) —take the following example :

“ By my eagerness to secure tie pleasures of tie world, I have
mide my life void of fruits : Alas ! I have sold tie invaluable chintz

mani at the price of glass.” ,

Here the ultimate meaning is, that the wasting of life in pursuit of
worldly enjoyments is like the selling of the Chintdmani at the price

of glass.

Similarly—

/. “The sun-born race, and the in|ellcct of small compass to
describe it — how vast the disparity t Ready am I, through folly, to
pass, by means of a raft, the impassable ocean !”

The ultimate meaning, here, is that the description of the solar
race, hy inv intellect, corresponds to the crossing of the ocean by a raft.
; y. This variety may be also when the impossibility consists in a
circumstance of an object compared, when said to belong to what is

tOj 83^

“What sweetness was experienced in the under-lip of the deer-eyed
-that same sweetness has been relished by the tasteful m the

juice of the grape.” ,

Here the attribute of sweetness, belonging to the under-up whic
is in question, beihg impossible in the grape- juice,Jhe sense, as be-
fore, terminates in similarity.
h. This occurs also in a series ; as—

“ Thou tbro west a parrot at the teeth of a cat, thou commit es
deer into the month of a hyena, thou drivest a horse upon the iorns
of a buffalo/setting thy heart oh the enjoyments of the

I "^Tb themlj^b ertwihent we have not^he consummation <>
'ae^tseof sentences, apart from tho intiraatio* p ^

Tht Mirror qf Qmpositibnf^ 891

?%e apprehend that relation from the context, after the complete mean*-
ings of the? sentences have been understood; Nor is the present
Figure the same with the Natural Inference (see § 787), since in the
latter, a$ i|kthe example 4< Lo! the necklace rolls on the breasts oif
the fair ones,” &c., 737 h,) t the meaning does not terminate in a,

comparison, y

Text.

No. 700. When an object compared to another (1) excels or (2)

Contrast, or Dissimilitude; 8 ^ ort of ^ is Contrast, or Dissimfe "

forty^eight varieties. ^ litude. This is single when the occaaioill
is mentioned, and threefold when it is not mentioned. These,, four
sorts are again sub-divided into twelve, from the idea of resemblance
being conveyed by a word (i. e. directly see § 649), by the atense'
(indirectly), or by intimation, and since each of these twelve sorts may
consist even of a Paronomasia (§ 643), they become twenty-four.
Each of the two cases thus containing twenty-four sorts, the Figure,:'
on the whole, comprises forty-eight varieties.

Commentary.

.V.; , . •' ... - ■ ■

«. The (occasion* in the case of the object compared excelling
that compared is the point of superiority belonging to the former
and the point of inferiority belonging to the latter. When both joi
these are mentioned, there is one variety, and when one or both
of these are omitted, there are three varieties. .Thus the figure
being fourfold, we have again twelve varieties, the relation
pared, and the compared to, being expressed directly by the word, pr
indirectly through the sense, or being intimated. The twelve^tietiSI
being in the 1 even of a Paronomasia,* that is to say, ocpariing
eppt from a Paronomasia as well as in a Paronomasia, are sub-divided
into twenty -fopr. ; In the same manner, the Figure (Dissimilitude^
<K>ntaining twenty?*fc^r sorts when the object compared is inferior ip
that compared to^^opprises altogether forty*ight varieties. " " ^

stain lese ^ll^ot ai|yathd) the sullied moon/*

the? stainlessness belong^

’ ^^ eom P^ ^M|Wned^ belonging 1 to the object wiapi^Wi
^ fiomthe employment

892 > The Mirror df Compontm*

of the word yaiha! (as). In this Very example, instead of ‘not as
the stained moon’ (w fafV^vrr) if we read ‘not like the stained
moon* we should have an Indirect comparison, and

if we read 4 triumphs over the stained lifoon,* we should fyave an Inti,
mated comparison from the absence, both of 4 as' &c. and 4 like’ &c. the
only terms that abstractly or concretely denote similitude. In this very
example again, on leaving out the word 1 stainless,’ there would be the
cate of an omission of the circuftstance of superiority (stainlessness)
residing in the object compared ; on leaving out the word 4 stained/,
we should have the case of the omission of the circumstance of in-
feriority residing in the object compared to ; and if we leave out
both words, we should have the case in which both the circumstances
are omitted.

c. This Figure in a Paronomasia; as —

*rfff ji^t: i

[The excellences (guna) of her with substantial merits are not as
the frail fibres ( guna ) of the lotus.]

Here there is a Direct Comparison, ' from the employment of the
affix ‘-ntf in the sense of ‘ iva,’ and both the points of superiority
and inferiority are mentioned, and the term ‘ guna ’ (meaning an ex-
cellence or a fibre) is paronoma&tic. The other varieties under this
division are to l>e understood in the foregoing manner.

d. These (the preceding) are examples of the case where the
object compared excels that compared to. The case in which the
former falls short of the latter is, in part, exemplified in the following
stanza: —

M The moon, waning, waxes again, ever and anon : forbear fair
lady, he gracious ; youth, when gone, is never to come back again !

e. With reference to this stanza, some say : “ Since the instability
of youth, which is the object compared, is greater in thisexample, the
danse ‘ or vice vert A' is not required in the definition givertby a certain
author viz.— ‘ The Contrast is when what is compared is '^eater than
What is compared to, or wee versd'." This opinion cafcnbt hear a discus-
sion, fo^whatis ndeant by being greater, or less is nothing but super-
iority or inferiOXity, and in the presehh|pchn>||i0 that youth
{s inferior to the moon, in point of »t ability. Adtmttiug however,
•that^ opjiojieot’sviewraay, in a manner, Hold good in the present
££|tyttce* j(i )V i^h« to^eal with such a one as—

The Mirror of Composition. 393

“ Haniimat and others illumined the messenger’s passage by their
fame’s white lustre, but I, by my foetnen’s brilliant laugh 1” ?

So the clause ‘ or falls shoft. of it’ was properly inserted in the
text.

Tbxi.

No. 701. When a single expression, by the force of a term de-

Connected Description. n0ti “ g siraultan <% or conjunction, 4 igni-
fies two facts, it is Connected Description

(saliokti), provided that a Hyperbole (§ 693) is what it is founded
upon.'.

COMMENTARY.

a . The Hyperbole, again, must, in the present figure , be based (1)
upon the introsusception of an object into an identity with another ,
or (2) upon the inversion of the sequence in a causation (see § 694).
That based upon an introsusception under identity, again, may rest
upon a Paronomasia, or otherwise. For examples in their order : —

b. “In her youth, her lover is flushed (with love— rdgabhaJc),
together with the petal of her under-lip.”

Here there is a Paronomasia in the term raga (see § 964 d).

c. (i The beams of the nectar-rayed luminary shoot through every
direction— awakening love along with the assemblage of the water-
lilies, dispelling firmness of mind along with the thick shades of the
nifjht , and closing the heart (in the contemplation of the beloved one)
along with the multitudes of lotuses.”

The stanza is mine. Here the ( awakening’ &c., are distinct, from
the distinction of what they pertain to,* — not merely under a
Paronomasia as in the foregoing example ivhere the two literal senses
of i raga ’ — ‘ redness* and i affection* are identified ,

d. The following are examples of the second division of the Connect -
ted Description, or that founded upon a Hyperbole consisting in the in*
version of the sequence in a causation

i4 Together with the king, she fell upon the ground— her conscious-

* Thus* in vlation to lo^o, * awakening* (vgWTQ) 19 ‘exciting* and in
relation to the asceinbiage of wator-lilies, it is * expanding*. These two signi-
fications, by tbe help of the phrase 1 along with/ are identified by similitude
not by a pun. So for the other participles.

894 The Mirror of Composition .

ness taken away by a deep swoon, as tlie spark of a lamp falls with
the dropping oil.*”

e. This Figure is also possible in aperies; as in tho preceding
example — “ The beams of the nectar-rayed luminary” &c.

/. In such a sentence as “ Banin, together with Lakslimana, went
to the thick forests,” there is not this figure, from its not being based
upon a Hyperbole, f

Text.

*No. 702. The Speech
Speech of Absence.

of Absence ( vinoldi ) is when a thing, in
tho absence of another, is represented as
(1) not disagreeable or (2) disagreeable. J

Commentary.

v. ‘Not disagreeable’ — not unsightly. Tims though tho ultimate
meaning of the phraso is ‘ agreeable,’ yet tho expressing of the quality
of agroeablencss through the negation of that of disagrocablonoss is
intended to import that the apparent disagreeableness or loss of beauty
of tbe object of description is the fault of Ihe presence of another
object, the former being indeed essentially fair. For example :

b. “ In the absence of the "season of clouds, the moon obtained
its unslumbering state (or shone forth in its native brilliance) ; in
the absence of summer’s burning heat, the woods put on their native
charms.”§

c . The case where a thing is represented as disagreeable or not
pleasant ; as —

“ Well hast thou done, following thy lord that transcends all people:
What is Day -beauty without the Sun; what is Night without tho

Moon?”

* The commentator mistakes this for the similar stanza in the JlaghnvanA
describing tho swoon of Aju at tho sudden death of Iadumati his wile, of "

the present is &n exact counterpart. * .

+ Tho commentator justly asserts tho propriety of admitting this orn
wherever this mode of speech may bo striking, even apart from a l^P® ’
and cites thetollowing line ftom the Kavya-prakds'a-**

J Head l i foimy ; for * *m**T(in Rocr’s edition of the original.

§ Lit, — beeiune delightful.

395

The Mirror of Composition .

d. “ The days of the Lotus have passed in vain ; it saw not tho
orb of tho Cool-beamed Luminary : Fruitless too was the birth of tho
Moon who never beheld the iJotus awakened. 1 ’

There is a particular strikingness, in this stanza , from the reciproca-
tion of the Speech of Absence. Although tho very particle 1 vinaf
(without) is not ufecl here, yet the ornament is no other than tho
Speech of Absence, inasmuch as tht> sense of 1 vina* ‘absence’ or
* want,’ is implied. Similarly is it to be understood that tho Figure
of Connected Description (§ 701) may occur without the actual
employment of the word t sahaf the meaning of it being implied. *

• Text.

No. 703. The Modal Metaphor (Samasokti*) is when the belia-

Modal Metaphor, three- vioiu ' or character of another is ascribed
to tho subject of description, from a same-
ness of (1) Action, (2) Sox (or gender), or (8) Attribute.

Commentary.

a. . Of the three sorts thus obtained , the ascription of the beha-
viour of one not in question to the subject of description, from a
sameness of action is exemplified us follows : —

“Happy indeed art thou, Wind of the Malaya mountain, who
forcibly embracost every part of the frame of tho Lotus-eyed lady,
having shaken off tho vesture of those breasts that bear tho beauty
of a couple of golden jars.”

Here wc have the attribution of the behaviour of a rough lover to
the wind..

b. From a sameness of sex, or gender ; as : —

“ IIow can the lofty-minded man think of woman, when he has
not satisfied his desire of victory ? The Sun (ravih) woos not
fair Evening (sand hi/ ci ) , without having careered, in triumph, over
the whole world.”

Here the characters of the lover and the beipvcd are ascribed to
the sun am! evening, simply because of the words being respectively
of the masculine and femininq gender.

* Lit. ‘ a speech of brevity.’ Tho figuro auswers to tho English Personi-
fication, except that it includes its reverse, oi* the attribution of tho character
of’ au inanimate thing to a sontiout creature.

896

The Mirror of Composition.

t. The sameness of attribute may be in three ways, (1) from
a Paronomasia, (2) from Community, or (S) aa implying a Resem-
blance.

d. Of these three cases , the following stanza of mine illustrates
that in which the sameness of attribute is based upon a Paronomasia

mv \

[Alas! the Luminary of the dewy, beams resorts to Vanina's
Quarter (the West), very gloomy at heart and pale like an old lavali
plant, as ho beholds the East* with a smiling face, with the mantle
of darkness falling off, from the rosy light of*davm (or warmth of
affection,) — touched by the rays (or hands) of the Lord of day.]

Here the words (face or oxtremity), TTtf (redness or affection)
&c., are Paronomastic. In this example , even on our turning ono
portion into a metaphor, by reading frrftiTTO^ru (vesture of dark-
ness) instead of (cover of darkness), we should still have

the Modal Metaphor, not the Partial Metaphor (§074). For, in
that case, the figuring of darkness as vesture would, from their
evident resemblanco as covering, rest in itself, independent of the
help of any other metaphor (the metaphorical figuring of the East,
for instance, as a woman) ;t so it could not preclude our recognition
of the figure as the Modal Metaphor. Where, however, the thing
figured and the thing figuring it, or that with which it is meta-
phorically identified, do not bear an evident resemblance, there indeed
the metaphor being absurd o’? unintelligible apart from another
metaphor, we have to recognize an implied metaphor in another part
of the description, though none ho expressed. The following, for
instance, is a case of the Partial Metaphor

• bit. Judy's Quarter.

t That is to pay, we should not be necessitated to recognize an implied me-
taphor (rupqled), technically so called, in any of the other parts of the descrip-
tion, by the single metaphorical expression, whio& may stand quite apart and
independent.

The Mirror of Composition. S97

a The Army (send*) of his foenian, as the monarch , in that retreat
of lovef — the field of battle — holds in his hand the fair Sword
(mandalagralata), turns away from him, though at first passionately
eager to meet him.”

Here the „ resemblance between the battle-field and the retreat of
love is not evident.

e . In those instances too, where there is an expressed figuring of
several objects, bearing evident resemblance to those under the cha-
racter of which they are poetically disguised , and an implied figuring of
only one portion, we have but the Partial Metaphor, inasmuch *aa
the cognition of the metaphor, being copious or diffusive, prevails
over that of the Modal Mctaplior. i But then there is a clear re-
semblance between the battle-field and the retreat of love, in both of
which the hero moves with ease.* Truly said, — there is a clear
resemblatice, but dependent upon a consideration of the meaning of
the whole sentence, not independently ; for a battle-field and a
retreat of love are not both, from their nature, places of easy loitering,
as a face and the moon are from their nature charming.

/. From a Community (see § c.) ; as : —

The Lotus smiled (or, was expanded — smerd ), on the rise of the
Lord of day, — with the bee charmed with the native, fragrance, me-
lodiously humming.”

Here the Lotus, under the common epithet^ ‘ with the bee charmed
&C.,’ is recognized under the character of a woman, by reason of the
attribution of the action of smiling which belongs only to a human
being : for without this attribution, it would be impossible to re-
cognize the behaviour of a woman merely from a community of
epithet. §

y. The circumstance of the common qualification implying a re-

* Botli of i/hese words being feminine, Mandalagralata is represented as the
rival of Senfi.

t In tlio original inner apartment or the apart ment of women.

J I. o. tho opithot equally applicable to a woman, for, as the Commentator
observes, ‘ native (Vagrftnce* is such a thing as is frequently ascribed to tho
breath of a fan woman.

§ So, adds the Commentator, a common epithet, accompanied with tho
ascription of a peculiar attriSlte, is, in fuot, the condition of tho present divi-
sion ot the figure.

398

The Mirror of Composition.

semblance (§c.) again, is possible in three ways, according as a
Simile, a Metaphor, or a Commixture* of the two is included.

A. Of these three cases , that implying a Simile is thus exempli-
fied : —

t{ With those flowers — the beams of the bright teeth, with those
tender leaves— the hands, with that swarm of bees— the dark tresses,
shines that deer-eyed lady in her beautiful dress.”

Here by reason of the qualification t in her beautiful dress*’ the
composition of the epithet d a nf a -prabh a -pwhp a-ch it a (‘ with tboso
flowers’ &c.,)/or example, is at first, to bo interpreted to imply a
Simile dantu-prabfu'th pmlipiiniva (the beams of her tooth are like
flowers). Afterwards another way of analysing the compound being
resorted to, viz. danta-prubha-sadr is’aih pushpins' chitdf (‘abounding
with flowers looking like the beams of teeth’), we recognize
the deer-eyed lady in the character of a creeper, by virtue of the
qualifications, which (as shown in one instance) are equally
applicable, by a simple turn of interpretation) belli to the lady and a
creeper.

When a Metaphor is implied, we have the example nffhe
stanza beginning ‘what clusters of bees — eyes of people’ — '.§074).

j. The common qualification implying a Commixture (§y.) ; as, for

instance, if we read (encircled 4 with that swarm Sped) instead of

(* in her beautiful dress’) in the stanza beginning
(§A), we have to resort to a Commixture, from the absence of any
means of, or criterion for , settling that a Simile or a Metaphor is
the ornament used here. The otli&r way of analysing the compounds,
according to which the lady is recognized as a creeper, has been shown
before.

k. Of these three cases , there is tho Modal Metaphor in the first
and third, according to those who hold that a Simile and a Commix*

* The Commixture, or confusion, of two or more figures, as also their ^ orl '
junction, or irid pendent co-existenco, in tho same passage arc counted
distinct ornaments (soo §755 and 750).

. 'f Tills is inudhya* 2 >artft*hp{ samdsa (compositwh omitting a middle totmh
as abhifmm- S'uhUivtal d.

399

The Mirror of Composition .

hire cannot be partial ; whilst the second is but an instance of the
Partial Metaphor. On consideration, however, it would appear
proper to recognize no other than the figure of Partial Simile in the
first case. Otherwise, in such an instance as —

“ Autumn, bearing on (her) pale cloud-breast (payodliara) the
bow of Indra (the rainbow) resembling the fresh wound of the nail,
and delighting (or making clear of clouds*') the branded (or spot-
ted — sahtlanlca) moon, increased the distress (or heat— tupaf) of the
sun/’ — how should we recognize the autumn as behaving like a
woman, when the breast of a woman bearing the rainbow resemblftig
a fresh wound of the nail is impossible?

1. “ But then,” as somebody might object, “ the nature of what is

compared to (npamdna ) t though, according to the letter , belonging to
the wound of the nail, ought, in consideration of the tilings (i. e. the
spirit of the descript mi) , to be transferred to the rainbow ; just as
the Vaidik injunction of oblation, the proper object of which is ghee,
is transferred to curd in such a representation as ‘He makes an obla-
tion of curd/ when, in the absence of ghee, an offering cannot other-
wise be made. Tims the clause in question will be understood to
imply i Bearing the fresh wound of the nail resembling (or rather
simulating) tho bow of Indra.” ’ s

tn. I answer — No, it is better to admit the Partial Simile here
than to resort to such a far-fetched interpretation, in maintaining that
the Modal Metaphor is the ornament employed , Granting, however
that this figure may somehow he recognized in the present example,
we have no alternative but the admission of the Partial Simile in the
example beginning ‘ Lake-beauties at every step. — ’ Besides how can
the Modal Metaphor, which consistsiiu the attribution of the beha-
viour of an animated being to an inanimate thing or vice versd 9
have room in the Simile which conveys no idea of such action?
To this effect it has Wen said : ‘ Since in the Simile, neither the

identical action nor the nature of the object compared to is understood
to be tUiribvMl to that compared, there is no such thing as a Modal Meta*

* My MS, ywbobly rightly reads instead of the read-

ing in Iioer’s edition,
t hour wrongly reads ,

400

The Minor of Composition .

plior resting upon a Simile,* but what is wrongly reckoned ns such is
evidently the Partial Simile. Thus the possibility of a Partial Simile
and a Partial Metaphor being recognized, it is logically established
that the Modal Metaphor has no room in a Commixture founded iu
the two former figures, and so, in fact , the Modal Metaphor does not
admit of being sustained by an epithet implying a comparison. It
is therefore two-fold in the employment of a common qualification,
as festing upon a Paronomastic, or a common epithet ; and two-folil
as founded upon the sameness of Action or Gender (see text and §c.)
So 'the Modal Metaphor comprises four varieties, of each of which the
attribution of behaviour, is the essential constituent.

n . This attribution of behaviour, again, is four-fold, according as
the action of a being or thing pertaining to the ordinary world, or to
science, is ascribed to another of the same sphere, or as the action of
an object of the ordinary world is ascribed to one belonging to
Science, or vice vend. Of these two classes of beings , that of the ordi-
nary world is numerous, from the difference of Relish, (or the variety
of the sentiments which the constituents of the class are respectively
capable of exciting) &c. Numerous likewise are the entities per-
taining to science, such as those known in the sciences of Lo-
gic, Medicine, Astronomy, &c. In this manner the Modal
Metaphor is divisible into many sorts, of wlich a portion is exempli-
fied as follows : — •

o. In the stanza beginning “ Happy, indeed, art thou, Wind of the
Malaya mountain,” we have the attribution of the action., «fcc., of
a violent lover, a being of the ordinary world, gfco another being of the
ordinary world — the Malaya wind .

p. sftpj

wr* otp fasr fa*#-

Tf^f ott iw tit

(They, I believe, have indeed obtained a sure knowledge of Thee,
who, storing thee the One unchangeable in all things, not to be exliaus-

• Here, instead of ?f§TqRf read * 111 g

edition of tUe ttort.

f th ? iueani% of the «tan*a, according 1 to the signification of the gramma-
tical tenoe used here, ncod not bo rendered'

The Mirror of Composition . 401

ted, though infinitely energizing, have lost, 0 Supreme, all notions
of duality.)

Here the properties of things, dealt within the science of Grammar,
are ascribed to the Being (God) known in the Scriptures. Similarly
in other cases.

q. In the Metaphor, a thing not in question, by bringing in its
own nature, covers over the nature of what is in question ; whilst
here, the former, by an attribution of its own character, distinguishes
the latter from its original character, without hiding its real nattfte.
It is for this reason that they speak of * the ascription of behaviour*
not 1 the attribution of nature’ in defining the present figure. In l5ie
Suggestion of Simile and in the Paronomasia of Sense (§ 705), the
resemblance of the qualified too is implied, but here that of the attri-
bute alone. In the Indirect Description, the being or thing in ques-
tion is intimated, but in this figure, one not in question. Such is
tire distinction.

Text.

The Insinnator,
(parikara).

No. 704. A speech with a number* of
significant epithets is held the Insinuator

Commentary.

a. As “ Ho ! monarch of Anga, commander of the forces, derider
of Drona— Kama, do save this Duhs'asana from Bhima.”t

Text.

Paronomasia. ^°* Paronomasia is the expres-

sion of more than one meaning by words
naturally, or literally, bearing one signification.

a. ‘Naturally bearing one signification’-this distinguishes the
present figure from the Paronomasia of Words (see § 643> The
term ‘ expression’ discriminates it from a Suggestion.

4. For example : —

* The pirn*! number, implying more than two, in the original, is, as the
sohonast observes, purposelv omployed.

t A-awatth^ -: n the Ve-if-Safihfira, by these insinuations cries shame to

and ’d 7" t0 def ° nii Dnhs ' <wnft * though he bragged mnoh of his power
and derided his superiors. ^

•402'

The Mirror of Composition.

JTOWf fwW Yf<OT I

vwt f^’crarfir 11*

[“ Occasioning the performance of good works, and dispelling the
gloom of all quarters, the sun or the king, (vibhakara) shines resplen-
dent with excessive glory. ”]

Here in the absence of such means of determination as the circum-
stances of the case or the like (see § 25 a), both a king and the sun

are expressly meant (see § 25 e).

■#

Text.

Indirect Description, five. No. 706. When (1) a particular from
fold. a general, or (2) a general from a parti-

cular, (3) a cause from an effect, or (4) an effect from a cause, or ( 5 )
a thing similar from what resembles it, is understood, each of the
former being in question, and the latter not so, it is Indirect Descrip-
tion, and is thus five-fold.

Commentary.

a. For examples in their order : —

“ A man that can be at ease even under an insult — *better than he
is , the dust, that, struck .with the foot, rises up and sits upon the
head.”

e Here a ‘man 1 in general, is spoken of, when those in ivhose mouth
is put the stanza mean themselves in particular, — thus 4 Even the
dust is better than we.*

5. 44 If this wreath of /towers is destructive of life, why docs it not

kill me, when placed on my bosom ? Egpn poison may sometimes bo
ambrosia, and ambrosia poison, by the will oftlie Lord I”

Hero, the particular things , poison and ambrosia , are spoken of,
whilst an injurious thing doing good and a beneficial thing doing evil,
by the will of God, is what is intended in general. And so we have
here the figure of Transition (see §709) based upon Indirect Descrip-
tion.

* The words ? idlinya (gloom), mahat (glory) &c., literally or primarily moan
only ‘(IioIctW ‘ brilliance’ too , respectively, but secondarily 1 sadness/ < gr^ t
prow ess’ &C The word vibhdkwra, however, as the scholiast observes, Htera y
both the *W and a king, and hence the present is but a mixed exam-
ple

403

The Mirror of Composition.

c, In the Exemplification (see § 698), a notorious* object only is
employed as a type, ati# since poison and ambrosia respectively
turning into ambrosia and poison have not been experienced, that
ornament has no place in the present example.

d , * li Alas, in the presence of Sita, the moon is, as it were, be-
smeared with lamp-black ; the eyes of does appear to have become
motionless ; the redness of the vidruma leaf seems faint and the
lustre of gold gloomy ; the notes of the female cuckoo seem to speak
the harshness of her throat, and the long tail of the peacock display*
but its blemishes.”

Here from the fancied effects of the moon being besmeared With
lamp-black &c., is understood the cause, viz , the pre-eminent beauty
of the face &c., which is in question.

e, “ The deer-eyed lady, when I said to her i I depart/ heaved
a swelling sigh, and glancing at mo side-wise with one of her eyed
suffused with tears, spoke, in sad pleasantry, to the fondly nourished
fawn — ‘ I)o thou now fix oil my dear ladies that fondness thou,
hast felt for me.’ ”

Hero the cause, the lady's intimation that she would die , is men^
tioned, when the effect, the prevention of the lover’s departure, is in
question.

/, When one thing being in question, f another like to it is des-
cribed, the figure is twofold, as being founded upon a Paronomusifif
or on simple resemblance. The variety founded upon a Paronomasia
again is twofold, according as there is a Paronomasia in the epithet
alone as in the Modal Metaphor, or as there is a Paronomasia in the
qualified word too as in^he^gure of Paronomasia itself* For ex-
amples in their order :

* g . i

(“ The Mango tree, fair and fragrant, adorned with vernal graces
and covered with exuberant blossoms, shines in resplendent beauty.”y

* Fore, in Boer’s edition, read SJT^Trf for

t For VSP3M read Roer’s edition.

t Theopir,.jta^i^ T ^j, and y>m n q fa r fTy q r t mean

also respectively ‘ever gay,’ ‘dreiwed ill vuraal attire,* and ‘agitated wita
powerful love/

404

The Mirror of Composition*

Hero a lover, the subject of discourse, is understood, by means of
the epithets alone, from the description of 8 mango tree which is not
in question.

*jrorqf^ w situ \
f^T S^ferTT II

(“ Though departing from the state of a male, as he did when he
assumed the form of a beautiful woman to clutnn the demons to destruc-
tion, though going down to the infernal regions, as he did to raise up
the* earth submerged under water, though becoming low of stature % as a
dwarf to beg of the demon Salin land measured by three paces of his —
paces which , to the demon's astonishment , measured the triple world —
yet preserving the universe— such are the marvellous ways made out
by that indescribable Purushottama.)

Here from the qualified word too, viz., purushottama, which is paro-
nomastic, is first understood Vishnu, because of its ordinary usage in
that sense. From this, some personage, intended to be described, is
understood.

i. Indirect Description founded on mere resemblance, as —

H There is but one young pigeon and a hundred hungry hawks
are flying towards it ; the heavens are fenceless ; good gods ! Divine
Inercy is the only refuge.”

Here from the pigeon which is not in question, is understood some-
body, the subject of discourse, whom a great number of men are bent
upon persecuting.

j. This figure also occurs sometimes ifSder a contrast ; as —

“ Happy, indeed, are the winds of the woods, cooled by contact
with lotus-M^, that touch, unobstructed, Rdma of the indium'**
dark andlovely complexion.”

Here, the subject of discours Q }f oneself, is understood under this con-
trast, viz . — 4 The winds are happy whilst I am unfortunate. 1

k. The figure again is three-fold, according as what is expressed
is possible, impossible, or both. Of these three cases, that of a pos-
sibility is illustrated by the above examples.

* A aorii of lotas of a dark-blue colour. — This is Du'saratha’s speech, sa/s
the commentator.

405

The Mirror of Composition,

l: The case of impossibility ; as —

“ I am a kokila and your honour is a crow : blackness is common to
both of us. But those who can appreciate soft melody will tell the
difference.”

Here, the dialogue* of a cfow and a Jcolcila is impossible, unless we
superimpose upon them the characters intended, viz,, those of two men
externally alike but different as to their internal qualities,

m. The case of both a possibility and impossibility combined ;

as —

qra *?t ii

Os. x vj >i

[“Why should not the fibres (or reputation) of the lotus-stalk be
fragile (or short-lived), that has so many holes (or failings) within
and so many thorns (or foes) without ?”]

Here without understanding some person, as the subject of dis-
course, under the character of the lotus stalk, it is impossible that
the internal holes thereof should be the cause of making the fibres fra-
gile, but it is possible in the case of the thorns which can rend the
fibres. Thus we have- both a possibility and impossibility combined.

n . That variety of this figure, which, under a Paronomasia, inti-
mates an object, by describing one similar to it (§/), is distinct from
a Suggestion of Matter founded upon the power of Words (se^
§ 257 b ,), inasmuch as it, like the Modal Metaphor (§703), has for
its life an ascription of behaviour. In the suggestion of a simile, an
object not in question is intimated, and in the Modal Metaphor and
Paronomasia, both what is, a*d what is not, in question, are expressed.

Thus the present figure is distinct .

Text.

. , « -■ _ , No. 707. Wlieif from blame and praise

Artful Praise. r

expressed, are understood praise and blame

respectively, it is termed Artful Praise (vydja-stutij.

Commentary.

a. When praise is understood from apparent blame, the etymology
of the term f vyaja-stuti* is to be explained thus ‘ vyajena Btutih,’ or
* *or traniqi: read in Roer’s edition.

406

The Mirror of Composition.

praise by an artifice ; and when blame is understood from an appa-
rent praise, it is to bo interpreted ‘ vyaja-rupa stutih’ or praise con-
sisting in an artifice or trick.

h. For examples in their order: —

u With pearl-necklaces on their breasts (but, under the pun, —
with breasts divested of ornaments), with the hairs of their bodies
erect (with their bodies covered with thorns), the women of thy
enemies, 0 king, have become as secure (widowed) at thy anger as
ever.”*

The stanza is mine.

c . “ This, 0 Cloud, is but a false encomium I have bestowed

upon thee — * thy waters arc the life of the world.’ But this indeed
is a great praise to thee, that thou renderest assistance to the Lord
of Justice (Yaina — the god of death), by killing, the way-fa re rs
separated from their beloved”

Text.

Periphrasis.

speech.

No. 708. Periphrasis is when the fact
to bo intimated is expressed by a turn of

Commentary.

For example : —

“ — Whose troops in the Garden of Bliss (nandana) touched, with
contempt, the flower-bunches of tlio Pdrijdta tree, — fondly cherish-
ed for the adornment of 'Sachi’s tresses.”

Here, what is in question and to be intimated, viz . the fact, in the
shape of a cause, of Tndra’s Heaven being conquered by Hayagrivu, is
expressed through the effect viz., the troops scornfully touching the
flower-bunches of the Pdrijdta , — for the purpose of giving particular
strikingness to the description. Nor is it that variety of the Indirect
Description in which a cause is understood from an effect (§ 700 d )t
since in that the effect is not in question, whilst in the present figure
the effect equally with the cause is in question, as indicating the
greatness of the power of the subject of description.

* Hero, observes the commentator, tho apparent blame of tho king coining
in .representing him as causing pain to women, and tho praiso intimated
that he h victorious over his onomies.

The Minor of Composition*

407

}. Similarly : —

“He restored to the fair ladies of his foemen their necklaces with-
out the binding thread, as he caused tears to trickle down their breasts
in drops large like pearls.”

Here the effect — the tears of the enemies, as indicating the great
prowess of the king who is the subject of description, is as much con-
nected with the question as the intimated cause — the killing of tho
enemies : so tho figure is no other than the Periphrasis.

e, 1 “ The princess, 0 king, does not teach me to speak ; the queens
too are silent ; feed me, hump-hacked girl ; are not the princes apd
ministers taking their food yet?’ — thus, the royal parrot of the ene-
my’s palace, let loose from tho^cage by the passengers, speaks, one by
one, to the pictured personages in the empty turret.”

Here the cause of this state of things is in question, what is meant
to be said being — * The enemies have suddenly fled away, having
heard your majesty was ready to march.’ With respect to the present
example , cited in the Kdmjaprakdsa in illustration of the Indirect
Description , some say that the effect too is in question, as being fit to
be described in connection with the subject-matter, the cause . Others,
however, declare that the figure is no other than the Indirect Descrip-
tion, inasmuch as the inexpressibly great prowess of the monarch in
question is understood from the account of the royal parrot, which is
not connected with the subject .

Transition, eight-fold.

Text.

No. 709. When a general is streng-
thened by a particular or a particular by
a general, and when an effett is justified by a cause, or vice versd , —
either under a correspondence or a contrast — , it is Transition ( arthd -
ntara-nydsaj , and is thus eight-fold.

Commentary.

0. For examples in their order : —

“ Tb? meanest creature, assisted by one that is great, attains to the
consummation of a deed. The rivulet of the mountain, united with
a great river , reaches the mighty ocean.”

Here, the ^nerality, implied in the first half of the stanza , is con-
finned by a particular illustration , implied in the second half.

408

The Mirror of Composition.

b , “ Thus having discoursed in words that did not exceed the sense,
Madhava (Krishna) ceased ; for the great are, by nature, of measured
speech.”

c. <J Be firm, 0 Earth! 0 Serpent sustain her; thou, Royal
Tortoise, uphold them both ; ye Elephants of the Quarters, exert
your energy to support the three — my venerable brother is about to
string Mahadeva’s mighty bow !”

Here, the cause, or occasion, viz., the stringing of Mahadeva’s bow
is what justifies the effect or consequence, viz., earth exerting herself
to Jbe firm, &c.

r d. In the stanza— “ One ought not to perform an act rashly indis-
cretion is the great resting-place of evils. And Prosperity, attracted
by merit, chooses, of her own accord, the man who does prudently”—
the effect, viz., Prosperity’s choosing the prudent man — justifies the
cause, viz., the opposite of heedless proceeding, or prudence. These
are examples of the cases resting upon Correspondence (see text).

e. The cases of Contrast ; as —

“ Served, as he is, thus, by us Deities , he (the demon Taraka) still
torments the triple world : It is evil requital, not beneficence, that
pacifies the wicked soul,”

Here a particular is strengthened by a general, under a contrast.
Similarly of others.

Text.

Poetical Reason.
Poetical Reason.

No. 710. When a reason is implied
in (1) a sentence or (2) a word, it is termed

Commentahy.

a. Of these, the case of a reason being implied in a sentence ;
as—

" The blue lotus, which was like thy eyes in loveliness, is now
sunk under water ; that moon, my love, which imitated the fairness
of thy face, is mantled over by clouds ; those royal swans too are
gope (to the minasa lake) whose pace resembled thine— alas ! the
gods would cot suffer me to derive a consolation even from thy
similituvlee — in this season of rains so tormenting ^to sepai ate
lows)'

The Mirror of Composition. 409

Here, the sentences forming the first three lines of the stanza imply
reason for what is affirmed, in the- fourth line—* alas ! the gods’ &c»

h. The caio of a reason implied in a word; e. g. the following
couplet of mine:—

<c S 'iva, afraid of the immense weight, bears not the Ganges on his
head, muddy as it is with the heaps of dust raised by the multitude
of thy horses

Here, the one compound word, forming the first half, implies a rea-
son for what is expressed by the second half.

c. The reason expressed by more than one word ; as in the following

example of mine . *

‘ 0 Sire, Ganga who flows through three ways only, (or Heaven,
Earth and Patala), conceals herself, through shame, on Mahadeva’s
head, as she beholds the river formed of the waters poured in thy
donations, streaming through. innumerable passages

Wf).” *

d. Some writers, it is to be observed here, do not admit those

cases of the Transition (§709 c. and d.) which rest upon the relation
of causation, because, they suppose , they are superseded by the
Poetical Reason residing in a Sentence. (§710 a.) This opinion is
not right. For here in the province of Poetry, Reason is three-fold, as
b^ing Informative, Completive and Justificative (or Confirmative.)
Of these three sorts , the Informative Reason is the subject of the
figure of Inference, the Completive of the Poetical Reason, and the
Justificative of the Transition : thus the Transition founded upon a
causation is evidently distinct frqjm the Poetical Reason. To illus-
trate : In the stanza beginning “ Tho blue lotus — ” (§710 a), the
sentences forming the first three lines are indispensably wanted for
the completion of the sense, inasmuch as, without them, the sentence
constituting the fourth line would be incomplete in its signification
and therefore absurd. Whilst in the stanza beginning “ One ought
not to perform an act rashly” (§7 09 d .) the prohibition of heedless*
ly acting is fdlj£ ‘intelligible in itself as being complete in its signi-
fication, just in t&gjnanner of a counsel such as—'* Never ought any
one to associate, I your honour the truth, with the wicked, who
are busy in working harm to their "fellow creatures.” The circum-
stance, added in of Prosperity’s choosing the discreet, only

410 The Mirror of Composition*

confirm# or justifies the prohibition , without being needed to be men-
tioned in order to the completion of its sense. So the Transition resting
upon a causation is clearly distinct from the Poetical Reason.

e, “ Hara (Mahadeva), for fear of the immense weight, bears not
the Ganges on his head : for it is muddy with the heaps of dust raised
by the multitude of thy horses,”

Here, we have not the ornament in question, since the reason is
made as clear, by the use of the particle * hi * (for), as if wc were
to employ the formal expression pankilativdt (from its being muddy),
and it is strikingness that is the essence of ornament.

Text.

No. 71 L. ■ The notion, expressed in a

Inference.

peculiarly striking manner, of a thing
established by proof, is termed Inference.

COMMENTA#*.

a For example: —

•* I believe, in the heart of this fair lady shines the moon -face of
her beloved : for in the diffusive beams burst out, all her limbs look
pale, and those lotuses, her eyes, are closed.”

Here the strikingness has its original in tlio metaphor.

£. Or we may take the following example

u Wherever falls the sight of women, there fall sharpened arrows ;
hence, I infer, Cupid runs before them with his bow furnished with
shafts.”

Here the strikingness rests upon file boldness Of the poet’s speech.
In the figure of Poetical Fancy, the notion is attended with un-
certainty, whilst in the present ornament it is attended with certainty,
this is what makes their difference.

Text.

No. 712. When a cause is represen-

The C«we. . ted ilt identity witli the effect, it is ter^mi

the Cause (hetu). '•

Commentary.

4, As jn my couplet beginning “ Site is the Wftasy of y ont *‘

The Mirror of Composition. 411

fulness”* (Chap. Ill §181 a.) the heroine, the cause of subjugation,
is represented as the very subjugation of the minds of young men . In
the expressions 1 ecstasy’ and ‘ laugh,’ however, the ornament rests
upon an introsusception (see §693 and 694 ).f

Text.

% No. 713. The Favourable (anuMla)

The Favourable. .

is when unfavourableness turns into a fa-
vour.

Commentary.

a . For example:—

“ When thou art angry, lady of the slender frame, wound him wi^l
thy nails, and tie his neck tight, with, those fair cords, thy hands.” | '

The peculiar strikingness of .such a mode of speech is properly coun-
ted as a distinct ornament, since it is perceived altogether different
from all other figures.

Text.

No. 714. When somethings really intended to be said, is appa-
rently suppressed or denied, for the purpose

Hint, two-fold. of conveying a particular meaning, it is

termed Hint (akshepa),§ and is two-fold
as pertaining to what is about to be said or what has been said.

Commentary.

a. Of these two cases , that pertaining to what is about to be said,
has two varieties, inasmuch as some thing, wholly and summarily
hinted at inay t be suppressed, or something may be partially men-
tioned and partially omitted. The case pertaining to what has been
said, admits of two sub-divisions, inasmuch as the very character of
a thing may be denied, or as the speaker may pretend to negative, or
cancel, what he has already spoken. Thus the Hint has four varieties,

* u She is the ecstasy of youthfulness — the laugh, of the abundance of
excessive beauty— the ornament of the face of the earth — the subjugation of
the minds of the young men/’

t The sentence is obscure in the original, and the scholiast, wh<f mistakes
the namo~ the figure to be abhidhd'hetu, gives $$ absurd inter-
pretation of it;. . "/ '*

t So in Romeo and Juliet i

“Jul. Then have thy lips the sin tbit they hare took.

Bom. Sin from my lips P 0 trespass sweetly urg’d!

Give m*' my sin again”

§ Paralipsis in Gre$fe Bhetorio.

•• •«/

41ft ^

K 'For examples in tlieir order

“I would say something for the sake of my dear lady, pierced
with a hundred shafts of Cupid— do thou, friend, stay hero for a
moment — nay, nay, what shall I say to one whose heart is devoid of
compassion!”

Here thepangs of separation, felt by the female friend of the^pcakcr,
are hinted at in general, but tho particulars, which were about to be
spoken of, are suppressed.

<?, “In separation from thee, the stag-eyed lady, beholding now
the new jasmine expanded, is, of a certainty, alas ! — but oh, enough
of such a cursed discourse.”

Here the portion ‘ to die’ is omitted.

d. “ My boy, I am no go-between* my business is not to say that
thou art beloved. She dies, and thine will be the disgrace— these
words of righteousness are what I have to say.”

Here the character of a thing, or rather a person f is denied— that
of the go-between.

e? “ How can she of the slender frame pass the night in separa-
tion from thee — nay what is the use of talking to thee who art of so
cruel a purpose?”

Here the very fact of speaking is, as it were, negatived.

/ In the first example, the particular meaning conveyed (see text)
is ‘ My friend is sure to die in the second, whatsis particularly 5
intimated, is the impossibility of speaking further or the like ; in the
third, speaking the truth in spite of being a go-between ; and in the
fourth, excess of misery. It is not to be supposed that a proper
negation of wlmt has been, or is about to le , said is what constitutes
the present figure, for tho Semblance of a deuial is the essence of it.

Text.

No. 715. Another figure, also termed Hint)
is held, likewise, to be an apparent permis-
sion of something, really unwished for.

Commentary.

Another Hint.
•i

a . 4 Iiike^se’-r^or the purpose of conveying a particular meaning,
ftsiu the pleading ornament

b. For example : —

“ Depart, my love, if thou art resolved to go-r auspiciou^be thy
paths, and may I be born again in the place where thou hast gone!”

Here the permission of going, which is so much unwished for,
failing as it does, terminates in prohibition; and the particular
meaning conveyed, is that the addressee ought entirely to desist
from -aging.

Text.

No. 716. When an effect is said to arise

Peculiar Causation. . . . -

without a cause, it is Peculiar Causation, and

is two-fold, according as the occasion is, or is not, mentioned.

Commentary.

0 . The production of an effect, though represented as being with-
out the supposed sole cause, Inust depend upon some other cause.
This distinct cause, or occasion, as it is sometimes mentioned and
sometimes omitted, makes the figure two-fold. For example : —

“In youth, the waist of the fair-browed lady is slender, though
she has never toiled, her eyes are tremulous, but she is not affrighted,
her body is heart-ravishing, yet it is not ornamented.’! ’ r

Here the occasion, viz. youth, is mentioned. In this very example
if we leave out i in youth ’ by reading vapur ITictti mrigi-dris'aK (the
body of the deer-eyed lady shines) instead of i vapur vayasi mbhruvaK ’

(in youth the body of the fair-browed lady), we should have the case
of the Occasion being omitted.

Text.

^ 4 No. 717. When, in spite ofthe existence :

Peouliar Allegation. „ •

ot a cause, there is an absence of the effect,

it is Peculiar Allegation, and is likewise two-fold.

Commentary.

a. 4 Likewise’— -that is to say, as the Occasion is, or is not, men-
tioned. Of these, tho case in which the Occasion is mentioned ; as—
“ Truly great are they, who though rich, are free from haughtines,
though young, are not fickle, and though possessed of power, do not
give way to hoedlessness in the exercise of it” *

Here the Occasion, viz. true greatness, is mentioned* In this twy
stanza if, for tho fourth line mahtUmahma-s'almah (truly great are
they), wo read hiyantah santi bhdtale (few there are on earth), the
Occasion would be omitted.

414 The Mritirffi Compo^iiMCf

l. The case in which the oocasion is inconceivable, being only a
variety of that in which it is omitted, is not separately mentioned
The following is an example : —

* 1 Ho of the flowery bow conquers the three worlds , alone, — whose
power was not destroyed by Mahadeva, though he destroyed his
body.”

Here the cause of his power not being destroyed, notwithstanding
the destruction of the body of Kama , is inconceivable.

c. In the present figure , an effect is also intimated to be absent, by
means of representing something as present, which is opposed to it.
So*also in the Peculiar Causation (§ 716), a cause is represented to
be absent through speaking of something, opposed to if, as present.
Thus in the stanza (given under §2. o, Chap . 1. § 187, Chap. Ill,),

there is Peculiar Causation, because of the representation of circum-
stances opposed to the cause of longing, which get is ascribed to the
heroine— circumstances such as are implied in * The bridegroom is the
very youth who embraced me before marriage’ &c. ;* and there is
the Peculiar Allegation, inasmuch as the lady is described as longing,
whilst longing is opposed to the effect expected to be produced by
such a cause as the circumstance of her gaining that very person for
her bridegroom* who enjoyed her before marriage.

Thus there is in this example the Commixture (see §757) of
Peculiar Causation and Peculiar Allegation. A pure example of such
a modification of the figure is to bo sought out by the reader for
himself.

*Text,

No. 718. When there is an apparent incongruity between a

Contradiction ; its ton g«“ U9 anJ «*Jf «/ the four beginning widi
forms. . genus (i. e. genus, quality, action and sub-

stance) ; between a quality aiul any of the three beginning with
quality ; between an action and another action or a substance , 01
between two substances — it is Contradiction, occurring in these ten
forms.

SobatjUite this clause for * There is that very husband who gained me m
a girt’ in the «tan*a in question. This mistake was overlooked by me,
routing Dr. Ballantyne’s translation.

The Mirror of Composition*

415

Commentary.

a. For examples in their order : —

“ Separated from thee, tlie wind of the Malaya mountain is to her
a conflagration ; the beams of the moon are impregnated with heat ;
even the hum of the bee pierces her heart ; even the lotus-leaf is to
her the^tummer sun.”

b. “ 0 king, the hands of the wives of the Twice-born (Brahmans),

hardened by the constant rnb*of the pestle and by manifold house-
hold work are, whilst thou reignest, soft like the lake-born flower
(lotus).” *

c. “ Though, Self-existent, yet Thou art born, though devoid of
passion, Thou destroyest thy foes (the Demons), though in Thy
deepest sleep, Thou art awake— is there the being who knows Thee
in truth ?”

d. “ To the deer-eyed lady, separated as she was from the lap of
her beloved, the Lord of Night (moon), in his complete glory, was
full of burning poison.”*

0 . “0! this form, ecstatic to my eyes but hard to obtain tfyen

throughjmngination, ~ 0 ! the one with drunken eyes gladdens my
heart yet torments it.”

/• “ S'iva, afraid of the immense weight,”

9* In the stanza beginning “To the deer- eyed lady,” if, in the
fourth line, instead of 1 full of burning poison we read ‘the mid day ■

sun,’ we shall have the Contradiction of Substances. .. , V

h. In the example beginning ‘ Separated from thee , — * * the wind’
&c., which, as denoting many individual, are generic terms, seem, at
first sight, to contradict * a conflagration,* * heat,* * piercing the ke^rt’
and ‘ the sun,* which, respectively, are a genus, a quality, an
action and a substance. The apparent contradiction is explained by
the fact that the state of things was caused by separation.

oxample beginning ‘ Though Self-existent,—’ the quality
of self-existence &o. is opposed to the action of being born &c., a»af
the seeming contradiction is explained by the greatness of the power

of Goti, who, tnough mbom, can manifest himself as a tygggn being horn
+and so fortk %

* The Milfouic representation of the Deity “ Dark with excessive light”
should, perhaps, ho naked under this variety of the figure, i, e. the Coutradio.
ion of Quality and Sub.tanoe.

m The

j. In the verses commencing “ S iva, afraid of the immense weight,’
the contradiction may be expressed thus : 4 S'iva himself, who ever
bears the Ganges on his head, ceases to bear it &c.’ ; and the boldness
with which poets are privileged to speak is the explanation of it.
The other illustrations are clear,

k. In the Peculiar Causation, an effect only, as represente<^without
a cause, is seemingly incongruous j in the Peculiar Allegation, a causo
only, without an effect ; and in the present figure, both the things
represented are apparently contradicted by each other. Such is the

difference.

♦

Disconnection.

Text.

No. 7 1 Ik When a cause and tine effect
are represented as locally separated, it is
Disconnection.

Commentary.

a. For example : —

She is a girl, but it is our minds that want manly boldness ; slie
is a woman, but it is we that are timid ; she bears a couple of plump
and lofty breasts, but it is vre that are oppressed ; she is charged with
the weight of fleshy thighs, but it is we that are unable to move-
marvellous it is that the faults belonging to another have deprived ns
of power.”

i. This.figure being counted as an exception, the ornament of
Contradiction (§718) is left to rest in the mutual inconsistency of two
things residing in the same glace.

Text.

No. 720. When the respective qualities or actions of a cause and
its effect are opposed to each other; or

Incongruity. when an endeavour becomes fruitless and

brings an evil result ; or when there is a 11
association of two incongruous things — it is held Incongruity.

Commentary.

f Pior in their order : —

u His sivord; wonderful to say, dark as it is like the Tamala hee^
’I® 6$ ory bat tie, having obtained contact with his hand, engender

The Mirror of Composition.

417

the very moment, a fame white as the autumnal moon, glorifying the
triple world 1”

Here, we have white fame arising from the dark sword, figured as
the cause,— in opposition to the rule or theory that the qualities of the
effect conform to those of the jause.

a.Nto thou with eyes like the blue lotus-leaf, how ecstatic is the
joy thou givest, yet Separation which has its origin in thyself — how
fiercely it burns my frama^ *^ 4

Here we have burni/* Separation originating in a joy-exciting
cause, a woman. *

c . “ Thj^ ,a»can is a store-house of gems, so I resorted to it in llte
hope of obtaining treasures, but treasures far from obtaining, my
mouth was filled with salt-wafer.”

Here, not only is the desired wealth not obtained, but, on the
contrary, the mouth is filled with salt-water.

d. “The woods with barks of trees for ornament, and the glory of
royalty admired even by Indra — how vast the disparity. Ah ! how
hard it is to bear the dealings of Fate, evil-disposed as he ever is.”*

We have, here, the association of the woods and royal glory. The
stanfca is mine. ^

e. Or for example : —

“ He, the Sleeper on the Ocean (Vishnu), whose vast belly drank
up the worlds at the consummation of the ages — that Deity was*
drunk in by one of the fair ones of the city, with a comer of one of
her eyes, languid in love !”f

The Equal.

Text. *

No. 721. The Equal is tha commend-
ation of ail object fitly united with another v:

* The commentator does not admit this as a proper example of the fourth
variety of tho figure, contending that Rama, the subject of the stanza, was not
a king when ho went to the woods. The author, however, perhaps means to
intimate that majesty was the hero’s by nature, though '>o was not, at the
time, inaiigm at xl a king. m .

'* t Mallmatha, in commenting on this stanza (Mdgha, xiii, 40), characterizes
the figure as the Exo<M$ihg (see §723), and in so doing differs with the author
the Kavya-prakaa'a as Ifeli as with that of the present work.

418

The Mirror of CompositiM-
Commentary.

a. For example: —

a rpjj e m0 on -light has been wedded to the deer-marked luminary
(moon), freed from clouds ; Jalmu’s daughter (Ganga) has come down
to meet worthy Ocean’-such were th^words-harsh to the ear of the
other monarchs — that the citizens, with one voice, spoke, glart at the
union of that couple of equal worth.”

Text. h

No. 722. Tin* Strange is, when, for
the attainment of an object, one acts

The Strange.

contronly to n .

Coj|MEXTARY.

a. For example:—

-For the purpose of being elevated, he bows down; for the sale.

of his life he parts with it altogether ; for the sake of happiness, lie
subjects himself to misery-who is there a greater fool than the

servant T }

Text.

No. 723. When of the container and
The Exceeding. the contained, one is represented as vaster

than the other, it is termed the Exceeding.

Commentary.

a. The ease when the Container is vaster ; as :

« How shall we better describe the vastness of the Ocean than hy
saying that Vishnu sleeps - upon Lim-obscurc, having thrown the
worlds into his belly.”

The case when the Contained is vaster ; as : —

b. “The Foe of KaUabha (Vishnu) could not contain witlnn

himself the flood of joy caused by the advent of the holy saint-Hc

in whose divine person the worlds did freely abide, "hen, at
consummation of a cosmic cycle, he had witlidiawn within

all the created souls.”

^ Text.

No. 724. The Reciprocal is when
ThiBaoprocal. two things do the same act to each other-

The Mirror of Composition .

419

Commentary. *

a. For example

“ She of the slender frame is graced by thee, and thou art graced
by her : The night gives glory to the moon, and the moon lends lustre
to tonight.”

Text.

No, 725. When somethingjdiat depends on another is represent-
j^ed as existing without it; or when one
tlJe 0 0 fonns mOrdmaiy; / object spoken of as being present in
many places simultaneously ; or when sou^-
body, act, unexpectedly does another act, either uncon-

nected with the subject, or otherwise ; it is the Extraordinary, and
is thus three-fold.

Commentary.

a . For examples in their order : —

u Who would not glorify the poets, whose discourse — though
they have gone to heaven — graced with infinite beauties — delights
the world, generation after generation, until the end of creation ?**

h u In the forest, by the river’s side, in the mountain cave, —
every where do thy foemen see thee standing in front, terrible like
Death !”

c. “ Wife, minister, confidant, beloved disciple in the charming B
arts,— say, what has not merciless Death deprived me of, in depriving
me of thee ?” Raghuvati's'a.

Text.

No. 726. The Frustration is when by the same means that one
employed in bringing a tiling to a parti-
cular state, another brings it to an oppo-
site one. ~

Commentary,

a . For example, the stanza beginning ‘ Them, who with a look.’*
(§ 636 a.)

* M Them, vho, with a look, recall to life the Mind-born God, who was burnt
by a look- we glorify tfie fair-eyed women, the conquerors of tlui Fierce-eyed
Divinity (S iva)/* :-

Frustration.

420

The Mirror of Composition.

A Becond kind of the
above.

Text.

No. 72^ Or when the contrary of a
certain act is justified by the same reason ,
with facility.

Commentary.

a. Supply * It is the same Frustration,’

b. For example

1 ' i jx now .

“ ‘ Stay here, my love ; after but a few da^s I shall speed to be
here again — stay here> for thou art tender anc^canst not bear toil. 7 —
i Tenderness, fair youth, is rather a reason for my going with thee,
for tender, as I am, I shall not endure the terrible pangs of Sfcpara-
lion’.”

Here, the hero mentions the tenderness of the heroino as a reason
against her accompanying him, and the horoine, on the other hand,
makes it, with still more facility, a reason for the same.

Text.

No. 728. When something mentioned first is spoken of as the

cause of what follows, and this again of

The Garland of Causes. . , , n

what comes next, and so on, it is the Oar-

land of Causes.

Commentary.

a . For example : —

“ Knowledge is acquired from association with the learned ; meek-
ness from knowledge ; the affection of the people from meekness ;
and what is it that is not obtainable frbrn the affection of the people ?”

Text,

No. 729. The Serial Illuminator, again, is when a number of

objects is, in succession, connected with the

The Serial Illuminator. , , ,

Bamo attribute.

Commentary.

a. For example : —

“ When thou didst come to fight, the how obtained the arrows ;
the arrows, the foemau’s he&d ; the foeman’s head, the Earth ; she
again, tboe; and tbou, immwtal fame.”

Hero the action of obtaining is the attribute.

The Minor of Composition .

421

The Necklace, two-fold.

Text.

No. 730. When what is mentioned first is qualified, (1) affirma-
tively,' or (2) negatively, by what follows,
and this again by what comes next, and so

S is the Necklace, and is thus two-fold.

^ Commentary.

a , For examples in their order : —

“ — When (in Autumn^ tiif iSJko is adorned with the expanded lotus,
and the lotus is associated with the bee, the bee is perpetually humm-
ing and the humming is attended with the excitement of love.” t

b. not a lake that was not graced with fair lotuses,

there was not a lotus in which there reposed not a bee, there was
not a bee which hummed not melodiously, there was not a hum that
ravished not the heart.”

c . Sometimes the qualified, too, is found successively to be affirmed
or denied as qualification ;* as —

“The lakes arc pure, the lotuses bloom iu the lakes, the bees fly
to the lotuses, tho musical hum is now uttered by the bees.”

So also in the case of a denial.

Text.

No. 73 L. A succession of things, gradu-
ihe Climax. ally rising in excellence, is termed the

Climax (sara). *

Commentary.

a . For example

“ The most important thing jn the requisites of royalty is a king-
dom ; in a kingdom, a capital; in a capital, a palace ; in a palace, a
couch ; in a couch, a fair woman, tho whole property of Love.”

Text.

No. 732. The Relative Order is when a
reference is made respectively to what have

The Relative Order.

been mentioned.

Commentary.

0 . For example : —

“ 4 They bloom : • i Pluck them with thy nails/ 4 It blows :* 1 Hedge

* The reader will obses vc that the term * qualified’ is here used

iu tho sense of subject and * qualification’ to denote a member of the predicate

422

The Minor of Composition.

it with the skirts of thy garment.’ 4 They enter the garden ‘ Scare
them away with the tinkling of t^y bracelets.’ — thus, fortunate
youth, do the female friends of thy love separated from thee, talk to
each other by hints, touching the vanjula flowers, the southern breeze
and the kokila

Text.

No, 738. When the same object (1) is, or (3) is made to be, in

many plac&^mMCcession ; or when many
The Sequence. objects (2) are, or^jr) are made to be, in

the same place, in succession,— it is termed the^Sequence (pary'iya).

* Commentary.

a . For examples in their order : —

“ Reposing for a moment on the thick eye-lashes, striking the deli-
cate lips, split by the full upon the breasts, rolling down the dimples
in the skin— thus gradually did the first ruin-drops reach the navel
of Uini”

b. “ Wolves, crows and jackals run in thy foeman’s city, where
walked gay women once, languid with the weight of hips.”

c. “ That hand, the fingers of which were cut by the handling of
the sharp-edged sprouts of the sacred grass (kus'a), she made a friend to
the rosary — kept off from the umler-lip which she had ceased to colour,
kept off from the play-ball reddened by the unguent of her breasts.”

* d, u Thy foemen’s wives now let full thick drops of tears on those
breasts where rolled the pure pearl necklace.”

c. In these varieties, the Place or Places is either one or arc
several, and so also the Placed. To illustrate. In the stanza begin-
ning * Reposing for a moment,’ the rain-drops arc gradually in t-ho
places — eye-lashes &c. — which are several. In the example commen-
cing 1 Wolves, crows and jackals,’ the ‘ wolves’ &c., the placed, were
successively in the foeman’s city, which is one place. So of the rest.

* So in Sbakespear’s Comedy of Errors, Act II,Scouo 2nd.

“ The time was onco when thou, unurg’d, wouldst vow
That never words were music tothine ear,

That n$ver object pleasing in thine eye,

That never touch well welcome to thy band,

That never meat sweet savour’d in thy taste,

PnlesR, I spake, or looked, or touched, or carv’d to thee,"

The Mirror of Composition. 423

f. Since in the present figure one object is represented to be in
many places only in consecution, it is distinct from the Extraordinary
(§725) ; and it is different from the Return (§734), because of the
absence of an exchange.

Text,

No. 734. The Return ( parivrittih ) is the

The Return. , c i _

exchange of a thing for what is (1) equal,
(2) lesser or (3) greater.*

Commentary.

а. For examples lfi their order : —

“ TJp<\ f^nr^yed lady gave a glance and took my heart, whilst I
gave my heart but got the fever of love.”

Here, in the first half there is an exchange for the like, and in the
second half, for what is lesser.

б, “ The old Jatayuh, translated to heaven — wherefore should we
lament him now, who, at the price of a decrepit body, bought a fame
lustrous like the light of the moon ?”

Here we have an exchange for what is greater.

Text.

No. 735. When with, or without a query, something is affirmed
for the denial, expressed or understood, of
something else similar to it, it is Special

Special Mention.

M en tion (parisan'khya).

Commentary.

a . For examples in their order : —

“ What is a lasting ovnamentjbere below ?~ fame, not a gem. What
is to he practised ? — good deed done by the great, not a crime. What
is an eye unobstructed ? — the intellect not the corporal eye. And
who is there besides thee who knows to discriminate good and evil ?”

Here, a gem &c., which are to be rejected or denial as an ornament
$•<?., are mentioned.

b. “ What is ever to be practised ? — virtue ; what is to be earnest-
ly sought the company of the good. Who is to be meditated
upon ? — the Lord^. Vishnu. What is to be desired ? — the supreme
abode, or fu tO beatitude .”

Here what are to be rejected, sin &c., are understood. In these
two examples, the declaration is preceded by a query.

424 Mirror of Composition.

c. When it is not preceded by a query, we have the following
examples : —

« Devotion to God not to Mammon ; addiction to Scripture not to
woman, the weapon of Love ; regard for fame not for the body are
often found in the great.” y

d. “ His strength was for the purpose of quelling the fcar^fthe

oppressed, his great learning was for the sake of honouring the learned
— not the wealth alone but the perfectw*fi*fcqp of that sovereign woro
for the sake of others.” \

e. When founded upon a Paronomasia, it a peculiarly striking ;
e. g. “When that king, the conqueror of tho world, jxus^protccting
the earth, the mixture of colours (or classes—' u4) was in painting,
the want of the string (or merits — yt)'was in bows &c.

Text.

No. 736. Tho Reply is when a question is inferred from au
answer ; or, the questions being given, when

The Reply. tliero is a number of answers, unlooked lor.

CoSIMENTAHY.

a. For examples, the following verses of mine : —

« My mother-in law has lost her sight, my husband is gone far
away and I am a solitary girl : how canst thou stay here t *

From this is understood a traveller having asked for lodging.

« b. “What is most odd?— the decree of destiny. What is to be
sought out ?— a man appreciating merit. What is the source of bliss ?
—a good wifo. What is hard to be won ?-a wicked man.”

This is distinct from the Special Mention, because, here, other
things of a similar nature are not intended to be disowned, or denui
# The author probably ineaus to represent the girl as tempting tho tiavtlh
as wo infer from similar stun, .as of such indirect import. The sinkings^
of this example, if there is any in it, as well as of that given m tho v«
prmkds’a, rests upon the indirect way in wliich tho speaker, in eithoi o. , ^
presses his or her meaning, and is quite independent of the in oronct ^
part of a query or request previously made. I do not see why > “
counted a figure at alii It is indeed strange to find the author o
prakde'a admitting this figure of speech, when ho is umnUv^ < °

such a figure ua the Cause (hetu), that comes under ^ho i-nglis
and perceives no st-ikinguess in such an example of it as ■ The Spring, the
qfcthe koiita, has arrived.’

The Mirror of Composition.

425

as possessing the respective predicates. Nor is the first case of the present
figure the same with the Inferenco (§711), since that is recognized only
when what is inferred and the ground of inference, or the reason, are
both mentioned , — and here the query is not mentioned . Nor is it Poetical
Reason (§710), for the reply is not the source of the question.*

Text.

No. 737. When according to the Maxim of the Stick and the
The Necessary Coucln- Cake, a fact is concluded from another, it
ori * / is held tho Necessary Conclusion (artha

patti).

Commentary.

a. The Maxim of the Stick and the Cake is one by which, a truth
or fact being given, another truth or fact comes in through a neces-
sary connection ; for example, it being admitted that a mouse has
eaten up a portion of a stick, the fact of its having eaten the cake
connected therewith, comes in as a matter of course.

h. The figure has two varieties, inasmuch as from a fact connected
with the subject-matter, there comes in one unconnected with it, or
vice versa ,

c. For examples in their order : —

Lo ! the Necklace rolls on the round breasts of the fawn-
eyed ladies. When such is the condition even of the pearls, free
(mulct A) as they are called , of what consequence are we, the slaves of
lover 1

d. “ Forsaking his native fortitude, he bewailed, with his voice
choked by weepiug. Even iron, heated to excess, becomes soft, why
speak we then of mortals melting under affliction

e . In the present ornament, there is a peculiar strikingness when
the Necessary Connection is founded upon a Paronomasia, as in tho

* The Kavya-prakas'a, whom tho^prosent work literally follows here, has,
it seems to me, failed to elucidate tho distinction between the two figures*
Tho following is tho proper explanation : In tho Poetical Reason, aff epithet,
a clause, or p whole sentence is used by the poet as implying a reason or ground
for an assertion , r represen tati m made by himself ; whilst in the prosent figure
tho wivoifi of what has been said by the poet servos as a roasou for the reader in
inferring a query supposed by the poet. Tho difference from the inference too
is not righth, marked*

426 TfifMrror of Composition,

example n Lo ! the Necklace/’ &c. This figure is not identical with
the Inference (§ 711), since the Necessary Connection has not the
nature of a mere Relation, established by experience. *

Text.

No. 738. The Alternative is an ingenious opposition^Ttwo
The Alternative. tilings of equal probability.

)l\o

Commentary.

p. For example ; "Bend ye your heads or\our bows ; make our
authority or your bow-strings the ornaments of your ^^ i. e yield
to oar authority or draw your lows” j*

Hero the bending of the heads and that of the bows are opposed
to each other, being respectively marks of peace and war, which it is
impossible to resort to at the same time. And this opposition ter-
minates in the having recourse to one of the alternatives. Tiro facts
are equally probable, inasmuch as the bending of the bows and that
of the heads are alike looked for by the speaker, through a pride of
prowess. The ingenuity of the speech consists in its implying a
comparison ; so also in the sentence £ Make our authority or your
bow-strings the ornaments of your ears/ Similarly in the sentence
u May the eyes or the body of Vishnu effect ( kurutdm ) the cure of
your worldly distresses” the ingenuity consists in the use of the
Paronomasia in { kurutdm ’ which , in one voice , is singular, and in
another, dual . In the sentence * Let 'wealth acquired be given away
to a Divinity or a Brahman, there is no ornament, because of the
absence of ingenuity.

Text.

No. 739. The Conjunction is (1) when notwithstanding the cx-
. *■ .
istcncc of one cause sufficient to bring
The Conjunction. .

about an effect, there aro represented

others producing the same, according to the Maxim of the Tliresh-

♦ Wo have .hero the recognition of necessary, or intuitive, truths, as contra-
distingQishcd from tboso established by experience,
t So Satan exhorts fcho fallen angola — ' Awake, ame, or bo for ever fallen.

The Mirror of Composition. 4 5ST

ing-floor and the Pigeons ; or (2) when two qualities or aetions, or
a quality and ail action are simultaneously produced.

Commentary.

jl For example, take the following stanza of mine : —

?$hou wast, 0 gentle Zephyr, begotten by the Mountain of the
Sandal ; pre-eminent art thou in the world in mild complaisance (or
southernness — dahhinga ), anch intimate art thou with the holy
waters of Godavari— if thou, alas ! oven thou dost burn my whole
frame like a fierce conflagration, what shall I say. to the black kokila,
savage and intoxicated as he is?” *

Here, ’notwithstanding the existence of ono cause, viz., the cir-
cumstance of being begotten *by the Mountain of the Sandal, for
the effect of burning, other causes such as the circumstance of coming
from the South &c., are mentioned. All these causes being good
things (since they are a source of delight" to all, excepting the
separated lover), we have in the above example a Combination of
Good Things. In the fourth line of the same stanza, wherein the
bad things such as madness &c., are joined together, we have a
Combination of Bad Things.

5. To exemplify the Combination of Good and Bad Things.

“ The moon dimmed by the day, a lovely woman whose youth has
departed, a lake bereft of its lotuses, a fair form with an unlettered*
tongue, a master devoted to Mammon, a good man in perpetual
misery, a wicked person seated in tho court of a king— these seven
are sore afflictions to my heart,”

With respect to this example, some say that there is here the
Combination of Good and Bad Things, inasmuch as the moon &c.,
are good and a wicked man is bad. Others, however, declare the
same characteristic to rest upon the circumstance of the moon being
by nature fair, and the dimness, with which it is associated , being
foul. For, they contend justly , the strikingness of the example rests
upon this peculiar way of pointing to the impropriety of such foul
states as dimness &o., coming upon such good things as the moon &c.
besides, ail the seven being summed up as afflictions by the sen-
tence—* Tb^e seven are sore afflictions to my heart,’ the clause ‘ s
wicked person seated in the court of a king 1 bears the character of a

428 The Mirror of Composition .

fault, because of its violating the uniformity of the representation
(see Chap. VII § 575, bb), in each of the other instances the subject,
and not the predicate, being a good person or thing.

c. In the present ornament, all the causes arc jointly introduced
just as pigeons alight together upon a threshing-floor ; whilst inyhe
figure Convenience, notwithstanding the existence of a cause sufficient
for the production of an effect, another cause is represented as
operating by chance.

d. u No sooner had thy eyes, youthful lady, become red than the
fac^ of thy beloved became gloomy ; no sooner, fair friend, hsul.st
thou bent down thy head than the fire of love blazed up kkQiis heart; ”

Here, in the first half there is a simultaneity of Qualities ; in the
second, that of Actions.

e. When a Quality and Action arc simultaneous, take the follow-
ing example : —

“ No sooner, king of kings, had thy eyes, those fair brethren to
the white lily, become, on a sudden, dismal towards thy foemen, than
the fierce glances of fell Adversity distinctly fell on their frames.”

/. We also see this figure respecting one and the same subject ;
as in “He brandishes his sword and diffuses his glory.”* It is not
an instance of the Illuminator, (see § 69(5), sinco these varieties of
the Conjunction implying the simultaneity of quality and action,
are, as a rule,f founded upon a Hyperbole consisting in the inversion
of the necessary sequence of a cause and an effect ; whilst the Illu-
minator has not for its foundation a Hyperbole.

* Caesar made himself the subject of this variety of t he figure when he wroto
t( I came, I saw, I conquered to which Shakcspcar lias supplied the follow*
ing humorous counterpart, illustrating tho tiguro in a series : —

* — For your brother and my sister no sooner met, but they looked ; no soon-
er looked, but they loved > no sooner loved, but they sighed; no sooner sighed
but they askod one anotbor the reason ; no sooner knew tho reason, hut they
nought tho remedy s ,f You Like It, Act V, Scono II.

f Here in tbo original, instead of as read in H '* 1 ' 9

edition, read tpRMTJSWTO ftniWT, though my own US. sanctions l ’ ulWt ' 1

by inserting tho mark $ of a rejected

The Mirror of Composition* 429

Text.

No. 740. The Convenience is when what is to be effected becomes

The Convenience. ^ thr0l, S k tli0 accidental operation of

another agency.

Commentary.

a. ftor example : —

“ As I was about to fall at her feet to quell her indignation,
happily, for my good, rose tho roar of the clouds.’*

Text.

No. 741. The Rivalry (pratyanika ) is when somebody, unable

The Rivalry *° » aven o 0 hi mse lf on his enemy, is repre-

sented as doing harm to what has a connec-
tion with him, which only proves his superiority.*

Commentary.

a . i His’ — i. e. the enemy’s. — For example the following couplet
of mine : —

° ‘ She of the slender waist has vanquished my waist with hers*—
so thinking, the Hon breaks the protuberances of the elephant’s head
that resemble the jar-like breasts of the lady,”

Text.

No. 742. When tilings to which a comparison is generally mado
are (1) themselves turned into objects of
comparison, or (2) declared to be useless, it
is termed the Converse (pratipa.)

Commentary.

Tho Converse.

a. For examples in their order : —

“ The blue lotus, which was like thy eyos in loveliness, is now sunk
in water” &c. (see § 710. a .)

“ When there is that face, all discourse of tho moon is closed ;
alas ! for gold, w r hen there is that radiance ; if there are those eyes,
the blue loin mis are lost; that smile existing, what is nectar; fie!
to proud Cupid’s bow, if there are those eye-brows — nay why talk we

* Rtfer emugly blends this with the foregoing Commentary.

430 The Mirror of Composition,

so much when it is true that the Maker's rule of creation is opposed
to superfluities.”

Hero the radiance of the moon &c., being eclipsed by that of the
face &c., the former are rendered useless.

Text.

No. 743. When the pre-eminence of an object, greatly excelling

A second sort of the tn s0me being at first declared, an-

Converse. other is compared to it, it too is termed the

Converse.

Commentary.

a . For example : —

“ Be not proud, 0 destructive Poison, to think that tliou art the
chief of direful things. Arc there not in this world the words of the
wicked as malign as thyself?”

In the first line of the stanza, i. e. in the clause 1 Thou art the chief
of direful things the pre-eminence of the object is declared, though
in evilness . When it is not declared, we have not this ornament ; as
in such a sentence as ‘ Like Brahma speaks tho Brahman/

Text.

No. 744. The Lost ( militd ) is when something is spoken of as
Tho Lost. concealed in another of a like quality.

Commentary.

<?. The thing of a like quality may be either inherent or borrowed,
i. For examples in their order : —

“ Saraswatz saw not the mark on Vishnu's bosom of the musk that
had perfumed Lakshmfs (her rival’s) breasts— lost as it was in his
lustre that shone like the dark-blue lotus.”

Here, the dark-blue lustre is inherent in the person of the Divinity*
c. “ Iu that city the faces of fair women, reddened, as they ever
were, with the ray of the ruby earring, excited no mistrust, even
when glowing in anger, in the hearts of the youthful lovers."

Here, the redness of tho ruby earring is borrowed in the face.

The Mirror of Competition, 431

Text.

No 745. The Sameness is “when something in question is spoken
°f as having become identical with, or un-
distinguishable from, something else, through

a likeness of properties.

Commentary.

a. For example : —

“ Fair women resorting to their beloved, went securely, undistin-
guished in the moon-light — their tresses covered with jasmines and
their bodies anointed with bright sandal.*’ ‘ #

}. In tho Lost wo have the eclipse of an object of an inferior
quality by one of a superior, quality ; whilst in the present figure
there is an absence of discrimination on account of both the objects
possessing like properties.

Text.

No. 746. The Borrower (tadguna) is when an object is represented
as quitting its own quality and assuming an
excellent one.

The Borrower.

Commentary.

a. For example

“He spoke and tho gleams of his radiant teeth whitened those*
honey-lickers — the black- bees — that hovered round that blooming lotua
disguised as his face.”

• Iu tho Lost, something in question is covered over by another,
whilst i% this figure, the quality of another is recognized as superin-
duced upon it.

Text.

No. 747. Tho Non-borrower is when something (in question)

Tho Nou-borrowor,

does not assume the quality of another,
though there is a reason for it.

Commentary.

0 ‘For example ;—

How L> it alas ! that, seated in my heart glowing with ardent

432 The Mirror of Composition,

love, thon, though white with goodness, dost not reflect the glow ?”*

i. Or for example : —

“ White are tho waters of Gang* and black are those of Yamuna—
dipping in both, 0 royal swan, thy whiteness is the same— it
increases not, nor does it decrease,”

In the former example, the beloved person, spoken of a^S^hlta
with goodness/ does not glowf with answering love , though it is pro-
per that he should do so, having conre in contact with an excessively
glowing heart. { In the latter example, though there is an Indirect
Description (see §700), and the swan, therefore, x aholutdy speaking is
not the proper subject of the description , yet it is a tiling in question,
in com parison with Granga and Yamuna., wlueh are still more remote
from the real subject, viz., a person of a'stcady character § Tho swan,
in spite of its contact with Gauga and Yamuna, takes not the colour
of cither,

c. This figure is distinct from the Peculiar Allegation (see §717),
being founded upon the peculiarly striking circumstance of not as-
suming a quality, or colour ; and it is different from the Incongruity
(§720), because a distinct colour is not said to be produced.

Text.

No, 743. When a delicate circumstance, indicated by (1) some
appearance or (2) gesture, is intimated by

TLe Sabwc. any hint, it is termed tho Subtle ( sukshma ).

Commentary,

a . * Delicate/ — i. e. not to be understood by one of a dull appre-
hension.

• This is not a literal rendering of tho original stanza, in which the figure
rests upon the use of the word ragu which means both * love* and * redness**

f Lit. Does not becomo red or affectionate.

$ Lit. Excessively rod or affectionate heart.

§ This remark is with reference to tho qualification, brackefcod in the trans-
lation of the Text, which our author intends to bo supplied from Text So.
745. The qualification however soem s needless and is virtually anna lied b?
the first example of the present figure given in the KacyapntkdAu Our
author indeed modifies tho example (sec §<t) to reconcile it to the quahlu-a-
tion, though he forgot it while illustrating the foregoing figure, for tho blia-k-
bees there spoken of aro certainly not things in question,

The Mirror of Composition. 483

h. Of the two cases, that of Appearance ; as : —

“ Some female friend, observing the saffron ointment on the lady’s
neck divided by the continuous flow of heat-drops oozing from her
face, drew, with a smile, the figure of a sword in her hand to inti-
m£t^ her masculineness.”

Hefc^the masculine action of a woman, indicated by the division
of the saffron, is intimated by another, by drawing in her hand the
figure of a sword, which is the token of a man.

e. The case of Gesture ; as

“ Perceiving that her lover had his mind anxious about the time
of assignation, "the quick-witted dame closed tho lotus-flower with
which she was playing — whilst her laughing eye conveyed to it the
import.”

Here, the time of meeting which the lover inquired for by strain-
ing his eyebrows Ac., is intimated by the close of the lotus which
takes place at night.

Text.

No. 749. The Dissembler (vj/njokti) is the artful concealment

The Dissembler. of a thing, though discovered.

Commentary.

n. For example : —

“May S'iva preserve yon 1— that Deity who — as the Mountain-
king jojned his daughter’s hand with his, in wedlock-thrilled by
the touch and troubled by tho distraction of his attention from the
various ceremonials of marriage, cried out ‘ Oh ! how oold are the
hands of the Mountain of Snow,’ and was beheld with a smile by
the troops of the Divine Mothers standing in a circle in the inner
apartment of Himalaya.”

b. It is not tho first Concealment (see §683), as the object is not
mentioned by the person who conceals it. Its difference from the
second Concealment has been shown on the occasion of speaking q£
that ornfiii; .•nt.

484

The Mirror of Composition.

The Description of
Nature.

not easily perceived.

Text.

No. 750. The Description of Nature
( ewabhdvokti ) is the description of such pecu-
liar action or appearance of an object as is

Commentary.

a. 4 Not easily perceived * — u e. .perceived by the poet alone.—
4 An object’ — such as a boy or the like. — 4 Peculiar action or appear-
ance’ — i. e . such as characteristically belong to^the object.

Take the following example of mine : —

44 Lo ! the angry hyena, with red and swollen eyes, scaring away
the animals all around with his howling roar, traverses from forest
to forest — behold, he lashes the earth repeatedly with his tail, rests
upon it for a moment with his hind feet, then on a sudden shrinking
into himself, he springs with fierce velocity in the air:”

Text.

No. 751. When (1) a wonderful object,* or (2) something past
or future, is represented as if it were present,
it i 8 termed the Vision ( bhdvika ).

Commentary,

a. For example : —

44 Victorious is that prince of ascetics — Agastya of the mighty
soul— who, in the hollow of one of his hands, saw the divine Fish and
Tortoise (incarnations of Vishnu), as he drank up the ocean in one
handful of water."

b . Or for example : —

44 Methinks I see thy eyes with the black collyrium that was there ;
I seem to perceive thy form with that profusion of ornaments that is
yet to adorn it.”

c . This figure is not one with the Merit named Perspicuity (see
Chap. VII, 611), for the latter does not cause a thing past or futuref

* This variety is non recognized in the Kdvya-prakds'a, being our author’s
own invention, and an unreasonable ono too, for it is either included in the
second variety or has no meaning at all,

t 1 Or a wonderful object* — adds the Commentator.

The Mirror of Composition, 435

to seem as if it were present. Nor is it the Marvellous flavour (see
Chap III § 37), for it occasions no wonder.* Nor is it the orna-
ment of Hyperbole, because it implies no introsusception (see § 693).
Nor is it the Mistaker, for what is past or future is mentioned as
or future. Nor is it the Description of Nature, for this con-
sists inf .faithful representation of the nice characteristics of a
natural object, whilst the present figure rests upon the peculiarly
remarkable circumstance of an object (really past or future) seeming
to be present. If, however, in the description of the nature of an
object, the above peculiarity does occur, then there is a Commixture
of the two figures. , '*

d. “ Who is he that, without an umbrella, seems as if he were
surrounded with white umbrellas ; who is he that, without a chamara ,
is ever fanned with the chdmar of flickering graces?”

There is not the present figure in the above example, inasmuch
as what appears in itself to be present is here described. As the
figure in question consists in an object's seeming to be present
through the description^ it has its proper place there where some-
thing not actually seeming to be present is so represented ; as in
the example 4 Methinks I see thy eyes with the black collyrium that
was there’ &c.

Text.

No. 752.

The Exalted.

The description of super-mundane prosperity is termed
the Exalted, or an action of one that is great,
represented collaterally to the subject in hand.

* Road f° r 1° edition of the text. It indeed seems

odd to speak of the representation of a wonderful object causing no wonder.

f Cancel here the stop (j) after in Roar’s edition of the text.

The translation is according to the reading of my MS. viz.

& 0 . which, cannot but be preferred to Roar's

reading, viz. ipn irarenrHTwrfa wWoh

is simply unintelligible, and makes a distinction without a difference.* The
commentator seems indeed to support it and toils hard to make out a sense,
but to no purpose.

436 The Mirror of Composition*

Commentary.

a. For examples in their order : —

“ There, the pleasure-gardens are fed by the waters oozing from
the roofs of the Lunar Stone ( s' as' dnkopala ) by the fall of moon-light
— roofs that leave the sphere of the clouds beneath.”

h. 44 Used to the slumber of blessedness after the consummation
of a cosmic cycle, the Lord sleeps here (on the ocean), having de-
stroyed the worlds — hymned by the First Maker (Brahma) seated on
the lotus that has risen from His navel.”

Text.

No 753. When (1) a Flavour (chap. III. § 32), or (2) an In-

The Impassioned, the COm l }lete FlaVoV ^ M, § 245), or (3)
Lovely, tho Impetuous Semblances thereof (§ 247), Or (4) the Quel-
and the Allayment. ling of sentiment (§ 249. a) are reduced to

a subordinate condition, then they become Ornaments and are res-
pectively termed the Impassioned (i rasavat ), tho Lovely ( prey ah ), tho
Impetuous ( urjami ) and the Allayment (samahita).*

Commentary.

a . 4 Semblances thereof’— i. e. the semblance of Flavour and
Incomplete Flavour. Of these four kinds of embellishment , the
! 'Rasavat (Impassioned) is so called from the association of rasa. Fla-
vour, or passion.

b. For example — 44 This is that hand” &c. (see § 266 i.)

Here, tho erotic is subordinate to the pathetic. So also of otlior

Flavours.

o . The Prey ah (Lovely) is so named from being loved by the
best of critics. For example, the following stanza of mine :

44 With eyes half-closed, in which the eye-balls were languid and
motionless, with her soft creepor-likc arms gently loosened as they
clasped my neck, with her round cheeks suffused with heat-drops—

* These four figures have quite different definitions in tho Kdvyd-darda of
Dapdin and the samdhdta thoro is what our author has denominated samailhu
The Kdpyct'tfrakasd does not recognize these ornaments nor tho succeeding

three

The Mirror of Composition. 437

that fair one as I remember ever and anon, my heart obtains no
tranquillity.”

Here * Love in union' (see chap. Ill, § 225) is subordinate to the
sentiment named Reminiscence or Recollection (§190), and this
ag%in to * love in separation’ § 212). «

d/ JJlv U'rjastvi (Impetuous) is so designated from its implying
urjas or impetuosity, in doing an improper deed. For example : —

t( Tj^e savages of the forests, now betaking themselves to all the
charming arts — singing , dancing fyc . — enjoy thy foemen’s ladies,
having abandoned their own consorts.”

Here the Semblance of the Erotic is subordinate to the sentirfent

* *

m of Love having a king for its object. So of the Semblance of an
Incomplete Flavour. *

e, ‘Allayment’ denotes ‘ giving up/ or rather, 'quelling ' — For
example : —

“ That pride of thy foemen which perpetually manifested itself
in continuous blandishments of the sword, in frowns, in threats and
in shouts of defiance, has gone — we know not where — at the very
sight of thy eyes.”

Here the quelling of the sentiment named Pride is subordinate to
the sentiment of Love having for its object a king.

Text.

No. 754. And when there is an * excitement’ of a sentiment and

Excitement, Conjunc- a ‘ conjunction’ and a • commixture’ of sedi-
tion and Commixture of ments (see chap. Ill § 249) in a subordinate
condition, they are entitled the same.

Commentary.

a. ‘ Entitled the same.’ i. e. the ornaments are named the Ex-
citement of a Sentiment, the Conjunction of Sentiments, and the
Commixture of Sentiments. Eor examples in their order : —

b. 11 Easy as tj^ey were in their carousal m company of then
friends, those foemen of thine were reduced to a miserable condition,
having somehow heard thy name.” *

438

The Mirror of Composition,

Here Terror, <fcc., the sentiments excited , are subordinate to the sen-
timent of Love having a king for its object,

c, “ Longing for union with him who was her lord in her former
birth, but modestly seated by the side of her female friend— may
Parvati ever preserve us !” •

Here the conjunction of Longing and Modesty is subo^dy^ate to
the sentiment of Love having a divinity for its object.

d, it( 0 we may be seen. Move off, thou wicked man. ^Why
am I in a hurry? Nay, I am a maiden. Do thou give me the
support of thy arm. Alas ! alas ! for this transgression of the
bornids of modesty. Where dost thou go ?’ — thus-^bearing fruits
and tender leaves upon which she lives— the daughter of thy foeman
now abiding in a forest, speaks to 'somebody, 0 thou victorious
monarch of the earth.”

Here the Commixture of Apprehension, Resentment,* Equanimity,
Recollection, Weariness, Depression, Awakingf and Longing is
subordinate to the sentiment of Love having a king for its object.

e, With respect to these ornaments^ viz . the Impassioned fyc. some
people say — 4 What subserve Flavour &c. by means of embellishing
the form of sense or sound are alone ornaments. But Flavour &c.,
being what are subserved by sense and sound, they cannot properly
be ornaments.’ Others however affirm that the designation of
Ornament given to such representations, merely because of their
subserving Flavour &c., is tropical and is to be assented to, in
compliance with ancient custom. Others assert that, strictly speak-
ing, an ornament, such as a Metaphor or the like, is what simply
subserves Flavour &c., and the circumstance of its embellishing the
sense &c. is of no importance , being analogous to the nipple attached
to the neck of a she-goat, which serves no end . But those who have

# Wq r m tho original, which means 'envy' or 'malice' (see § 106), hut
(' resentment’ or 'indignation’) incomprehensively rendered by Dr.
Ballantyne into * impatience of opposition’ (see § 184), is evidently the senti-
ment described here.

t The Commentator observes, with reference to the example, that excessive
fatigue had brought a transient slumber on the maiden who, waking, regrets
that pbo had passed beyond the bounds of feminine modesty by leaning npo
tho arm of a mau.

439

The Mirror of Composition .

thoroughly considered the matter are of opinion that a Flavour or
the like which has become subordinate and which is itself subserved
by word and sense that suggest it, properly obtains the denomina-
tion of Ornament, subserving, as it does, the Flavour or the like
thftt is principal, through embellishing the words and the sense that
suggest mthe latter . In the Modal Metaphor (see § 703), it is the
behaviour merely of a lover or the like that constitutes the orna-
ment, not the Relish that is derivable from the representation , because
being itself ultimate, it wants the said condition of assisting a prin-
cipal Flavour through ornamenting the words and sense suggestive
thereof. ' IJencd it is that the author of the ‘ Dliwani’ has declardcl —

• In that piece of poetry where a Flavour or the like is subordinate
to another Flavour or a sense’that is principal, the former Flavour
or the like, js, in my opinion, an Ornament/ If the character of an
ornament should be constituted by the circumstance of merely sub-
serving the Flavour or the like, then it might be claimed even by
plain or direct expressions or ideas, and there are such capable of
exciting poetical relish . Similarly is refuted the opinion of those
that affirm that the ornaments Impassioned &c. are, when the
Flavour or the like is principal, and that when it is subordinate, there
is the second ornament named Exalted.

Text.

The Conjunction and No. 755. If any of these very omamenfs
the Commixture. (that we h ave t re at e d 0 f { n this chapter) are

united together, then there arise two distinct ornaments, viz. the
Conjunction and the Commixture.

Commentary.

a. As material ornaments, when united together, obtain a distinct
beauty, and are consequently counted as one distinct ornament, so
the poetical embollishments that have been defined, when united
together, become distinct ornaments and are designated the Con-
junction and the Commixture. Of these —

Text.

The Conjunction, de No. 756. The existence of these indepen-

fiaeQ * dently of each other is termed the Conjunc-

tion.

440 The Mirror of Composition.

Commentary.

a. 1 Of these’ i. e. of ornaments of word and those of sonse. — For
example : —

TnjTT'irani! «

(May Eansa’s Destroyer — tlio Deity of tlie smiling lotus-eyes —
preserve us from destruction— -the Glorious Sun in annihilating tho
darkness of the world.)

We have a Rhyme in p&y&dapayat and an Alliteration in the line
beginning samara; so there is the Conjunction of two ornaments of
word. In the second quarter of the vorse, viz . 4 the Deity of the
smiling lotus-eyes' there is a Simile anddn the second half, a Me-
taphor; thus we have the Conjunction of two ornaments of sense.
Roth these Conjunctions residing in the same verse, wb have here
the distinct ornament of the Conjunction of the ornaments of word
and sense.

Text.

No. 757. The Commixture again is, when of two or more orna-

The Commixture, do- ments nnited, (1) one is principal and tlio
fined. others aro subordinate to it,* or (2) when

they reside in tho same place, or (3) when there is a dubiousness
about them — being thus threefold.

Commentary.

a. The case of the Principal and Subordinate Ornaments : as—

“ Under tho form, methinks, of that mantling silk-whito slough
that had slipped, through tho force of pulling, from the body of tho
royal Serpent (Vasulci, employed as tho string), long did lovo-ipuck
Mandakini cling to his footf (in kneading them), as if to remove tho
pain that Ocean had suffered in the churning.”

• Tlio Karya-prakdsfa, with much greater convenience, holds this variety t<>
consist in the mutual subserviency of ornaments. Our author’s illustrations imply
that one of the ornaments in such cases is ultimately tho principal, the othi' ,s
being subordinate, or subservient, to it,

f Or--wii.il r*f n-Mi)co to the Actual fuel- fa apa>( of tho ocean, wlmh 1 K
v ord ;\iro nucau?*, ucconling l«» frbt* Coin mmi tutor.

441

The Mirror of Composition,

Here, the nature of Mandakini (the celestial Ganges) is super-
imposed upon the slough, the real nature whereof is denied, so we
have the Concealment (§683). This is subordinate to Paronomasia
or^Coalcscence (see §643), inasmuch as it gives rise to, or implies f
the verbal identification of the actual fact of Mandakinl’s* clinging
to a portion of the personified ocean, with clinging to its feet (by
means of the pun in the word pdda which means ‘part’ as well as
‘foot’). The Paronomasia is subordinate to the Hyperbole (§693)
consisting in the said identification. The Hyperbole is subordinate
to the Poeticar Fancy (§686) contained in the clause — ‘as ii to
remove the pain that Ocean had suffered in the churning.’ The
Poetical Fancy is subservient to the Modal Metaphor (§703), inas-
much as it implies Ocean and Mandakini behaving respectively like a
male and a female personage.

S. Or for example : —

<£ Fair Evening glows (with passion or redness — anurdgd) and
Day is ever before her, still, — 0 wonderful is the decree of fate — they
are never united.”

Here the Modal Metaphor is subordinate to the Peculiar Allega-
tion (see §717).

c . The Commixture of Dubiousness ; as — *

t( Lo !t the Lunar Orb shines in the sky, dispersing the outspread*
ing gloom, causing exquisite joy to the eyes.”

Here, it is dubious whether there is a Hyperbole in the shape of
the introsusception of a fair face into the moon ; or a Metaphor con-
sisting in the suporimposition of the nature of the moon upon a face
intimated by the pronoun 1 this;’ or an Equal Pairing (§695), a face
(intimated by * this’) and the lunar orb being botli subjects of dis-
course and associated with the same attributo of destroying (internal
or external) gloom &c. ; or an Illuminator (§696), the moon not
being in question ; or a Modal Metaphor (§703), the face being not
in question and understood from a sameness of attribute ; or §n
Indirect Description (§706), the face being in question, and under*
stood through the destjfiption of the moon which is not in question ;
or a Periphrasis (§708), the time (night) that excites love be^ng
nieaut to be described through the description of the moon, the md

* Or, rather, tho slough's, feigned as such. J t Literally ‘ this’ (idam.)

442

The Mirror of Composition .

of which is the effect thereof. Thus there being a doubtful pos-
sibility of each of these several ornaments, we have here the Com-
mixture of Dubiousness.

d. Or, to take another example ( — if our dubious fancies iflth
respect to the former one seem too far fetched— ) in the seat*>nce“I
see the moon-face/’ it is doubtful whether there is a Simile, it being
meant that the face is like the moon ; or a Metaphor, the meaning
being that it is the moon.

e, When, however, there is a reason for one of the ornaments, and
another, against the others, or on£ only of such two reasons, there
the doubt does not exist. For example, in the sentence “ lie kisses
the moon-face/’ kissing being consistent with a face and inconsis-
tent with the moon, it is a reason for our recognizing a Similo
hore, and against our admitting a Metaphor. In the example
“ The moon-faco shines,” the attribute of shiningness is a reason
for the Metaphor, but being tropically possible in a face, it is not
against the Simile. In the sentenco “ Lakshmi (Prosperity), 0 i
royal Naniyana, embraces theo firmly,” a woman’s embrace of one
like her lord being improper, the embrace of a king, as such , by
Lakshmi is impossible and so thwarts a Simile, but the embrace

of Narayana (her lord) being possible, there is a Metaphor : that
is to say , the king is not likened to Narayana but identified with
him. Similarly in 4 The lotus-face of the fawn-eyed lady shines
with tremulous eyes,’ the eye, which is possible (only) in a face,
indicates a Similo and thwarts a Metaphor, being impossible in a
lotus. So in such a pliraso as (the beautiful lotiis-

face) where the common attribute (viz, beauty) is mentioned, since
the compound (lotus-faco) cannot imply a similitude,

according to the grammatical rulo

jP anini II, 1, 5G, S. K. p. 356, (A word donoting an object com-
pared is compounded with vyaghra d;c,, when the common attribute
i^not mentioned), the Simile is debarred, and consequently the
compound implies a Metaphor, as belonging to that class which
begins with tho word mayura-vyansaka ( Pdn . y, 1, 72, S. K. p. 336).

/• The case of the Residence of Ornament** in tho Samo Place,
or the Identical Position, is exemplified in the following stanza of
mine; —

The Mirror of Composition. 443

*r«rihtrT’fK<n ismrfxt farther

?T3[T^: ^T*J(: wfcT I

^ wf^Ts^nST€Hi II

• 9

(If even for a moment she glances at me with the corner of her
eye, ecstatic joy hursts forth in my heart and shuts out the con -
scioasness of all external objects. What raptures then would flow
from the embrace of her of the lotus-eyes, while the vesture falls off
from those swelling breasts that quiver with joy) •*

Hero tKe Clihckanuprasa contained in and

the Vrittyanuprasa, consisting in the compounded letters ^ (k-sh)
occurring twice in this phrase and once in f*rtV%<T, have an identical
position* So also there is in this very example the identical position
of Alliteration and Necessary Conclusion (§737). Or, for instance,
in the phrase &c. (§756#.), there is the identical

position of Metaphor and Alliteration. Or, for instance in
K^\ form one Rhyme (§640), and
another ; so there is the identical position of two Rhymes.
g. Or for example : —

“ Festively do the peacocks with out-stretched neeJks dance in
these days, noisy with the roar of fresh clouds, and gloomy like the
traveller’s heart (or with travellers for spectators —

Here, in the same position, viz., the word there

are the Simile (gloomy like the traveller), and

the Metaphor (with travellers for spectators).*

* Tho Commentator rightly considers tho above example as an instance of
the Commixture of Dubiousness, not of the Commixture of the Identical
Position, inasmuch as tho Prakrit expression does not admit

of the two interpretations simultaneously or positively, but alternatively or
dubiously. lie, evidently reading instead of— and

instead of fTHRC, ronders the couplet into Sanskrit thus H

The term applied to the travellers, implies a Metaphor, inasmnoh

as it. properly moans one of an audience at somo regular festivity, such as a
dramatic entertainment. The peacock’s dancq is no festivity in tho proper

nfwurTHTftmg

4M The Mirror of Composition .

Intelligent readers, do yon, with ease, acquire a knowledge of the
principles of poetical composition in their integrity, by the perusal
of this Mirror of Composition, the work of S'ri Vis'wanatha Kaviraja,
the son of the glorious moon among the poets, S'ri Chandra- S'ekhtfta.

As long as Lakshmi, whose face resembles the unclouded moon,
adorns the lap of Narayana, so long may this work bo celebrated in
the world, rejoicing the mind of the poets !

Here ends the 10th chapter of the Mirror of Composition,

sense of the word, — none, at all events, to the separated lover, to whom every
merry sight is a source of pain.

It would not be uninteresting to illustrate some of these mixed ornaments
by an English example :

° Ye ice-falls ! yo that from the mountain’s brow
Adown enormous ravines slope amain —

Torrents, methinks, that heard a mighty voice,

And stopped at once amidst their maddest plunge !

Motionless torrents ! silent cataracts !” — Coleridae.

In the 3rd and 4th lines, there is a Modal Metaphor (§ 703), subserved by a
Poetical Fancy (§ 68f>). In the last line, there is a Commixture, called Iden-
tical Position, of a Hyperbole (§ 697) and a Contradiction (§ 718). If wo may
look upon these five lines as forming one piece of poetry, there is here a
Conjunction (§ 756) of these two Commixtures.

THE LM).

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